FADE 1IN: CLOSE ON A lush jungle forest. So CLOSE all we see is DEEP GREEN. We HEAR the DISTANT CHATTER of jungle animals, as WORDS APPEAR. "Now this is the law of the jungle, As old and as true as the sky... And the wolf that shall keep it may prosper, But the wolf that shall break it must die.” ~~ Rudyard Kipling "The Law of the Jungle” THEN. . . you chey all the rules, you miss all the fun. -~ Hepburn SMASH CUT TO: EXT. -~ NEW YORK CITY STREET -- LATE AFTERNOON Bam! The sexy mambo rhythm of JUNGLE DRUMS mixes with the cacophony of Manhattan. CLOSE ON A pair of gorgeous LEOPARD PRINT Manolos on a great pair of iegs, STALKING down the busy street. Wherever these feet - are going, we wish we were headed there too. CUT TO: EXT. STREET - SAME ZEBRA STRIPED Jimmy Choos stake their claim on sidewalk. Another gueen of this jungle hunts her prey. CUT TO: EXT. - ANOTHER STREET - SAME SNAKESKIN BOOTS, expensive, but the heel's more practical. They break into A RUN when suddenly THE CONTENTS OF AN OVERSTUFFED HOGAN BaG clatter to the ground. Scripts, Blackberry, pacifier, lipstick... all hit the sidewalk. WENDY HEALY, 41, smart, earthily attractive, bends down to scoop them up, stuffs them back in. We hear: NEWS PROGRAM (0.S.) ... And Manhattan Magazine's list of New York's 50 most powerful women came out today... walks by THE WINDOW OF AN ELECTRONICS STORE. The sound comes from the BANK OF TV's turned to CNN Money, where we

see the ANCHORS in front of Wendy's picture, as she strides past. NEWS PROGRAM (CONT'D) Wendy Healy, President of Parador Pictures... who at 41 has earned the company CUT TO: EXT./INT. LIMO - SAME The LEOPARD MANOLOS gracefully get in to the car. These great legs are attached to NICO REILLY, 40s, cool, classy, formidable. NEWS PROGRAM (0.8.) ... number six. Nico Reilly, Editor in Chief of Bonfire Magazine... In the LIMO, Nico turns on the little tv to the CNN Money show, watches, as we see... NEWS PROGRAM (CONT'D) . And up and coming fashion designer Victory Ford is number 17 on our list, owner of her own label, with boutigues throughout the U.S. and Asia. .. PULL OUT to reveal the CNN report is now on a DIFFERENT TV backstage at... INT. BRYANT PARK - VICTORY FORD FASHION SHOW - SAME Backstage chaog. Our ZEBRA STRIPED Jimmy Choos stand on a stool, adjusting an outfit on A MODEL. These are the legs of Victory Ford. At 40, she's a Holly Go Lightly for today -- peautiful, creative, chicly bohemian. She walks through the ‘madness, a bit tense, keeps checking the time, making sure every detail is perfect. She pulls a cigarette from ANOTHER MODEL'S mouth, takes a guick drag before stomping it out. She peeks outside at -- EXT. BRYANT PARK TENT - CONTINUOUS It's a zoo. LIMOS are stacked. PRESS, PAPARAZZI... FASHIONISTAS, ASSISTANTS WITH HEADSETS. Everyone who's anyone is here. 1In the flurry of activity, we pick up pieces of DIALOGUE as they're important. LIMO pulls up. A MALE PUBLICIST helps her out of the car, getting info through his headset from a FEMALE PUBLICIST with a clipboard.

FEMALE PUBLICIST (into headset, sotto) " Nico Reilly... Editor Bonfire. being photographed. I hear she's a bitch. Nico steps out, all business. FLASHBULBS POP, but Nico Reilly doesn't pose for photographers, just heads toward the tent. They SHOUT after her, trying to get their shots. . PHOTOGRAPHER #1 {calling) Nico! PHOTOGRAPHER #2 Over here! PHOTOGRAPHER #1 Wwho are you wearing? NICO {over her shoulder) Victory Ford. She continues walking, pleasant but gently dismissive. As she's about to enter the tent she passes the FEMALE PUBLICIST with the headset. NICC {CONT'D} Oh. And I'm really not a bitch. I'm shy. She smiles to herself and continues inside. INT. TENT - A FEW MINUTES LATER A fizzy excitement is in the air. People are shown to their seats, scope the crowd for friends and enemies. FIND Nico, settling into her primo spot. She takes it all in. Hates that she has to take out her glasses to read the program, WENDY comes down the aisle, harried, late, always a tornado in contrast to Nico's calm. They greet each other, kiss. WENDY (checking) Am I sweaty? My car was late so I ran from 50th. fumbles in her bag, then gives up the search, TAKES NICC'S GLASSES to look at the program. WENDY (CONT'D) I hope she got our present. (MORE}

WENDY (CONT'D) I want her to get it before. Do you think she got it before? NICO I said get it there before. I'm sure she got it. INT. BACKSTAGE - SRME Victory pulls the 1id off a BEAUTIFULLY WRAPPED package, iifts out A HANDCRAFTED SNOW GLOBE with THE EARTH INSIDE. Tnstead of snow, sparkly stars swirl around it. It's lovely. she opens the card, knowing who it's from... CLOSE ON CARD: You own the world. Now stop biting your lip and knock tem dead. XO N. and Victory smiles, catches herself -- she had indeed been biting her lip, is touched by the gift. TN FRONT, the LIGHTS GO DOWN. The plastic is removed from the runway, signifying that the show's about to start. Nico and Wendy squeeze each other's hand, "here goes," as the Victory Ford logo is lit, the TECHNOPOP MUSIC starts and the first model takes the runway. QUICK DISSCLVES take us through the show. - MODELS strut the runway in chic ensembles - SPECTATORS watch, take notes - Wendy and Nico whisper to each other, laugh at secret jokes - The final moment where Victory comes out and does hér WAVE As Victory basks in her moment of glory, Nico and Wendy are proud, applaud loudly. Victory catches their eye and smiles. Does life get any better than this? SLOW FADE TO: INT. VICTORY'S GREENWICH VILLAGE APARTMENT - THE NEXT NIGHT ... Maybe not, but it sure can get worse. What a difference a day makes. Wadded up Kleenex are scattered amidst NEWSPAPER REVIEWS, each worse than the next -~ "NO VICTORY FOR VICTCORY," wyICTORY DUMPS DELICIOUS FOR DRAR..." *VICTORY DEFEATED..." Nico and Wendy, still in their work clothes, are sitting by the fireplace, circling the wagons around a very different vVictory ‘than the one before -- this one unshowered, in pajamas, and looking like hell. WENDY Oh sweetie, it happens.

VICTORY Not to me, it doesn't. Oh my God. I never dreamed I would be eviscerated like this. Never even considered the possibility. (reading) "Out With the 0ld, in with the... Ew?" That's just mean. This business is mean. {(dragging herself up) I need a cupcake. She stalks around, picking through the stuff, locking for food. NICO Okay. so a few critics didn't like this particular show. So what? It's the clothes they're rejecting, not you. looks at Wendy for sympathy, "Help me." WENDY {to Nico by Her clothes are her. Nico shrugs, "I tried." Victory comes back with a cupcake, tries to give back the snow globe. VICTORY Here. You two should have this. You still own the world. All I own is a busted career and hundred pairs of shoes. (getting up) You know what? I should give you my shoes. They're so pretty. They deserve to be on successful feet. NICO Vic. Stop. Everyoné gets humiliated. Remember what happened to me at Harper's Bazaar? I was escorted out of the building by guards. WENDY Hey. Don't make her feel better. She was about to give us shoes. Victory laughs despite herself. VICTORY I know, I know...

NICO and Wendy's gotten tons of bad reviews. The Blue Cance, anybody? WENDY I still maintain that was a good movie, it was just a bad title. (hugging Victory) I know, sweetie, it hurts, but you just have to ignore them. Lay low until it blows over. loan you the house in Montauk ~-- you can wear big sweaters, sunglasses and a baseball hat. Everyone will agsume you've had something done. Hell, you could even have something done. VICTORY Maybe I'11 botox myself to the point where my face betrays no emction. Then nobody can see how hurt I am. WENDY Atta girl. NICO No. Do not listen to Wendy. You can't hide. A true player responds to disaster as though nothing's happened. When they smell fear in this town, it's over. VICTORY But I am afraid. {cff their looks) I am. I mean, I loved the more serious direction I took last night. I wanted to reinvent myself a little, show another side. But what if the reviews were right and it did suck? What if I suck, and everything I've done up until now is a fluke? WENDY Vie, we all have those dark moments in the middle of the night. I don't. WENDY she said, not helping the situation.

Well, I don't. I find it offensive that women always feel we have to apologize for our success. There are no flukes, there is no luck. There's just talent, and hard work, and the ability to bounce back when vou're knocked down. No more. No less. And she SCOOPS UP the BAD REVIEWS, tosses them INTO THE FIREPLACE, and LIGHTS THEM on fire. WENDY {teasing) I always thought she screwed her way to the top. VICTORY Yeah, that's definitely the story as I heard it. NICO {laughing) Shut up. The three friends laugh, watch the fire. THE FLAMES lap at the paper, CONSUMING IT. As the FIRE BURNS, we HEAR THE JUNGLE DRUMS... and we... SMASH CUT TO: MAIN TITLES . ACT ONE FADE IN: INT. WENDY'S SOHO LOFT - MORNING Morning chaos. The loft will look cool someday if they ever finish it. Wendy, still wet and in her towel, is trying to get her kids ready for school and herself ready for work. HER SONS TYLER (6) and SAM (3) are in pajamas, hitting each other. The PHONE IS RINGING. WENDY (to boys) Guys. Please stop that and put your on. Where's the phone? I said to put it back on the handset.

She looks all around for it, as Wendy's daughter MAGGIE (13) ~ through as the PHONE KEEPS RINGING. MAGGIE Mom. Where's my IPod? WENDY One second, honey. Boys! {to Maggie) Check the kitchen. boys) Stop it! she finds the phone under a cushion. . WENDY {CONT'D) (into phone) Hello. It's JOSH, Wendy's assistant. JOSH (0.8.) (accusatory) Where are you? WENDY Paris. Josh, I asked you to please not ¢all me in the This is my special family time. We hear SCREAMING, and Wendy physically breaks up the fighting BOYS, points them to their room to get dressed. JOSH Okay, then. I'll just tell Hector Matrick you'll call him back at a more convenient time? WENDY Hector Matrick's on the phone? Dammit. - {shouting) Okay, listen! The CEO of the company that owns my company is on the phone. Bverybedy get dressed now and ncbody is allowed to yell Mommy for the next ten minutes! She tears through the apartment, still wet, heads the room they call "the office." JOSH S8hall I put him through? I'1l1 put him through. WENDY Wait! No, not ye--

HECTOR (0.8.) Wendy? Wendy is that you? Josh has the annoying habit of putting calls through before Wendy's ready, and he's done it again. WENDY (feigning casual) Hectoxr. How nice te hear from you. HECTOR, at 70, is the sccentric patriarch of Matrick-Verner, who owns Parador Pictures. For vears people have said he's going insane, and he's done little to refute that notion. INT. HECTOR MATRICK'S OFFICE - CROSS CUT HECTOR I'm concerned about the shades, Wendy. WENDY What's that? HECTOR The window shades. In the offices. I'd like them to be kept at a uniform height. WENDY Uh-huh. .. HECTOR I'm thinking five inches from the sill. And I'd like you to issue a memo . ON WENDY Listening, as Hector prattles on. She's trying to follow, when her towel slips, she looks down at her chest, peeks can't help noticing how... deflated... her breasts look. When the hell did that happen? HECTOR (CONT'D) ... exactly five inches. Or five and a half -- I don't like to micromanage. Now what's this I hear about Dreamworks doing a picture about Galileo? Aren't we doing a Galileo picture? Now he's got Wendy's attention. Victor does this -- slips in something pertinent amidst the senseless rant. WENDY Yes, we are. a terrific script and we've got Leonardo (MORE)

% 10. WENDY (CONT'D) I'm sure I would have heard if Dreamworks had one in development, Hector. sam walks in, climbs into Wendy's lap. She frantically fishes around for candy, gives him a piece to keep him gquiet. HECTOR Good. We can't have two Galileo pictures. You saw what happened to the second Capote. Nobody cared. WENDY 1'11 check into it as soon as I get into the office, but you shouldn't worry, Hector. I'm sure it's just a I'm glad. Because that would be bad for you, wouldn't it? {then) Goodbye, Wendy. Five inches from the gill. and he's gone. Shit! CUT TO: INT. LOFT BEDROOM - CONTINUQUS Wendy, holding up her towel, deposits Sam onto a LUMP OF COVERS on the bed. The lump’s her husband, SHANE, 30's, handsome, metrosexual, still sleeping. He stirs, and STRETCHES languorously... He does have a great body, even if it's not getting up. WENDY Shane, can you please get up and get the kids ready. I have to get to the office. and she starts for the bathroom. Shane wrestles Sam playfully. SHANE Can't do it, Wen. You're gonna have to take 'em today. WENDY What? SHANE I'm meeting this guy at Starbucks to talk about the restaurant. (MORE)

SHANE {CONT'D) (0ff her look) What's the big deal? You know where the school is. (tickling Sawm) Ahhh... tickle attack! gam laughs. WENDY Shane. You can't do this to me on such short notice. I have a crazy morning -- SHANE When don't you have a crazy morning? If I postpone it'll set everything back, but what the hell? It's your money, right? Ouch. They've been here before. Wendy, not wanting him to sulk, tries to make peace. WENDY (gently) It's our money, Shane. You know that. The money I make is for both of us. He's focusing on Sam, not giving her anything. WENDY (CONT'D} {carefully) I just don't think this whole restaurant idea is making you happy. That's all. I don't know... maybe you should go back to writing screenplays. I could -- SHANE Screw it, Wendy. God. What do you want? A long beat. No point in starting this now. WENDY (a little sadly) I just want you to be happy, Shane. So we can all be happy. And she turns, looks in the mirror, and puts on her lipstick. INT. NICO'S AVENUE CO-~OP DRESSING ROOM - SAME Nico's putting on lipstick as well. Her co-op is elegantly appointed, lavish, expensive. Nico stands in her LaPerla bra and panties getting ready for work.

12. Her husband CHARLES, 50's, is getting ready also. He's a New York intellectual, has a professorial air about him. Theirs is & meeting of the minds, if not always the bodies anymore. They move in a familiar morning dance, getting dressed in the same space, yet each ¢ccupying their own. . .. And tonight's the culmination of months of my hard work -- CHARLES What's tonight? NICO The Bonfire/Target launch event at Bungalow 38. -- And he's going to be strutting arcund taking all the credit -- CHARLES Well, he is CEO. That's what they do. Have you seen my watch? NICO By the sink. CHARLES Ah. NICO CEC my ass. The mannequin in the window at the Armani store generates more ideas for his company than Mike Harness does for ours. Every magazine under his umbrella except mine is nemorrhaging profits. He should be working ‘round the clock, and instead he's playing golf and getting spray tanned. Ohhh, can't I just skip tonight. CHARLES . Come on, Nicky, where's the girl who wanted to conguer the world? NICO She's tired. I don't know -- nothing’'s exciting anymore. {taking his hands) Can't you at least come with me tonight? We can stand at the bar and make fun of people like we used to when I was just starting out. Remember?

CHARLES 1'd love to, but I have that lecture tomorrow at Columbia and I'm woefully unprepared. You can tell me all about it when you get home. NICO Ch. Okay. CHARLES Don't worry, Nicky. You'll find the thing that gets your blood boiling again. You always do. Nico goes to kiss him -- but instead he gives ber a routine kiss on the forehead, and crosses off. Nico's CELL PHONE RINGS. She picks up. INT. NEW YORK STREET - SAME victory strides down the street looking fabulous in a BRIGHT RED DRESS, putting on lipstick, while TALKING TO NICO on the cell phone. VICTORY Nico. You'll be happy to know I'm taking your advice and not hiding. I'm wearing my fuck you dress and my fuck you shoes. I'm facing my public and I feel so much better. She reaches her offices, in the FLATIRON BUILDING, goes in. INT. HALLWAY - FLATIRON BLDG. - MOMENTS LATER Victory steps out of the elevator, walks down the hallway, still on the phone. VICTORY (cont'd) It all made so much sense this morning. I mean, really. There's nothing to be embarrassed about. I'm the same Victory I always was and no reviews can change that. opens the double doors, walks in to find... INT. VICTORY FORD OFFICES - CONTINUOUS ... all the EMPLOYEES at her with big puppy dog, sympathetic, sad faces, as though she's just found out she has six months to live. EMPLOYEES

14. She reacts. INT. WENDY'S PARADOR PICTURES OFFICE - SAME wendy FLIES in, laden with bags of scripts. Two ASSISTANTS wearing CORDLESS HEADSETS sit an outer office. JOSH (20's, officious) is the one from the phone. JOSH Where were you? WENDY I know, Josh, I'm sorry. I Had to take my kids to school at the last minute and -- She stops. Way does she always feel the need to explain hergelf to him? She continues into the inner office. INT. WENDY'S INNER OFFICE - CONTINUQOUS Cozy, warm, cluttered. Josh and the other assistant follow her in, hand her a Diet Coke and a muffin. WENDY Ckay, I want you to put down your sudoku puzzles -- yeah, surprise, I know -- and call all your assistant friends and find out if Dreamworks has a Galileo project. {then} B And get Selden Rose on the phone now. I need to know if Leonardo DiCaprio’'s deal is closed. She's about to sit. JCSH No time. You have dailies on the romantic comedy upstairs five minutes ago. WENDY Damn. First thing in the morning? Okay, then call Selden and see if he'll meet me in the screening. She starts out, pounding her Diet Coke, as the ASSISTANTS follow her with her stuff. WENDY (CONT'D)} Please God let today's be better. 1'd even take either romance or comedy at this point, but so far we‘ve got neither.

o® 1i5. INT. NICO'S BCONFIRE MAGAZINE OFFICE -~ SAME Cool, corporate, streamlined. Magazine covers on the wall. Nico's desk is immaculate. Nico looks over papers, as her assistant, REBECCA, sets a cup of tea in a saucer on the desk. REBECCA I have Barry Santos from Target for you on two. Nico picks up. NiCOo Barry, hi. I just wanted to tell you how honored I am that Bonfire is the vehicle that's launching Target into this new era, and I wanted to go over a few talking points for this evening's party. I - INT. BARRY SANTOS' OFFICE - SAME - CROSS CUT BARRY Mike Harness already went over everything with me. Nico's surprised, covers. Oh really? BARRY Yeah, I thought it was a little strange, since this was always your baby, but he said he'd talked to you first. NICO Oh. Yes, of course. That's fine. Excellent. One less thing to worry about on such an important day. Tonight then. BARRY Tonight. She hangs up. Her eves narrow... pissed. She stirs her tea a moment. Rebecca enters. Nico (a deadly calm} Rebecca. Get me Mike Harness. Now. INT. AGAINST A WHITE-TILED WALL - MOMENTS LATER MIKE HARNESS, 40's, handsome, slick, is on the cell phone.

o® 16. MIKE {into phone) Tell her I'm in a meeting. He FLIPS the phone SHUT. REVEAL he's shirtless. He holds up his arms, and SPRAY SHOOTS OUT OF THE WALLS. He's in a tanning booth. INT. VICTORY'S OFFICE - SAME victory's in the stylish bullpen area. 15 or 20 EMPLOYEES are nervously gathered around as she's finishing a pep talk. VICTORY So this is a day of celebration. Because whatever anyone says, we did what we believed in. We broke new ground, and Victory Ford moves forward. So no more boo-boo faces. We are fine. BAnd we all go out there proud, to show the world how fine we arel (clapping) So congratulations to all of us on a job well done! she raises her fist in triumph, then heads intc her bohemian chic office. Her funky-looking but fretful assistant, ZOEY (20's) follows. I have a few Xanax in my purse from when I had teeth pulled 1f you want them. VICTORY zZoey, I'm fine. ZOEY Are you? I1'm glad to hear that. Because Bloomingdales just pulled their orders of the new Spring line. As have ten other stores. Should I get that Xanax now? paces. VICTORY Ckay, okay, it's to be expected. I'm not worried. Don't forget we have three-hundred-twenty-five stores in Asia. THE INTERCOM SQUAWKS RECEPTIONIST (0.8.) I have Fumiko Ikito on the phone.

17. ZOEY (gasps) no! VICTORY Zoey. ZOEY I'11 be right outside if you need me . {nervously) Fingers crossed! victory sits to take the call, puts on her headset. Zoey places the Xanax on the corner of the desk, leaves. VICTORY {into phone} Hello, Mrs. Ikito. INT. MRS. IKITO'S OFFICE - JAPAN - CROSS CUT MRS. IKITO, an elegant Japanese businesswoman in her 50's sits behind her desk. : MRS. IKITO I hate it. VICTORY (deflated) The spring line. IKITC Yes. All of Japan hates it. VICTORY Wow. The whole country? That's guite an accomplishment. To get an entire nation united in their hatred for bell-skirted cocktall dresses and skirt suits in embroidered tweed. MRS. IKITO You will come to Japan next week to discuss where we go from here. Sayonara, Victory. She hangs up, puts her head on the desk. ZOEY enters, veritably bursting with news. ZOEY Okay... are you ready for this? Greg Bennett is on the phone for you right this minute. (no response) Greg Bennett, the bazillionaire?

i8. VICTORY I know who he is. Why is he calling me? ZOEY I don't know... Maybe he knows how much trouble we're in and he's calling to rescue ug! T hope I hope I hope... VICTORY We don't need any rescuing, Zoey. We're fine. him through. Zoey exits. VICTORY {into headset) Victory Ford. ELLYN {0.8.) This is Ellyn from Greg Bennett's office. Mr. Bennett would like you to join him tonight at the Whitney Biennial and for dinner after. VICTORY Uh... and what is this in reference to? ELLYN (0.8.) Mr. Bennett finds you very attractive and according to Google you are single. VICTORY {confused) I'm sorry. Are you asking me out on a date? ELLYN (0.S.) Yes, I am -- he is. VICTORY Well, tell Mr. Bennett thank you very much, but I don't -~ ELLYN (0.S.) that he was in the audience for your show last night and he absolutely loved it. VICTORY {melting) Oh really? CUT TO:

INT. PARADOR PICTURES SCREENING ROOM - SAME A small screening room. Dailies flicker on the screen. on her cell. WENDY You're going out with Greg Bennett? VICTORY {0.S8.) I know... crazy, right? A HEAD-SHAPED SHADOW blocks the screen. SELDEN Sorry, sorry. He ducks down. This is SELDEN ROSE, late 40's, a lawyer type, straitlaced, but a little goofy. WENDY Vie, I gotta go. Call me later. We'll discuss. Wendy motions for Selden to sit next to her. WENDY {CONT'D} Leonardo's deal. Is it closed? SELDEN Not yet. The agent's holding out for final cut. It's a chicken game. WENDY Well, I need it deone today. Dreamworks may be on cur heels with their own Galileo movie, and I told Hector Matrick we have him. You gotta lock this up. SELDEN I'm not giving him final cut. WENDY I know, I know. But you have to get me thig. nurtured this thing for five long years -- I brought it in, I convinced everyone to do it. If Dreamworks makes a shmuck out of me my ass is on the line. SELDEN Yeah, well it's my job to watch everybody's ass. He realizes what he said and gets embarrassed. 19.

20. WENDY Just make it happen, today, please? Their attention is drawn to THE DAILIES on the screen. ON SCREEN MATTHEW McCONAUGHEY and CAMERON DIAZ are locked in a kiss. They break, and... a distasteful look crosses Matthew's face. SELDEN Did he just... cringe after he kissed her? WENDY What? He's kissing Cameron Diaz. Why is cringing? ON SCREEN The next take. WENDY (CONT'D} There it He's doing it again! Ch my CGod, it's in every take. What is this director doing? I'm going to have to fire this guy. Terrific. (re: screen) Did he just wipe his mouth? DISSCOLVE TO: INT. BCNFIRE/TARGET LAUNCH PARTY - BUNGALOW 38 - THAT NIGHT The party's in full swing. Large blowup posters of Bonfire magazine line the walls. Well-dressed BUSINESS PEOPLE, MODELS, EXECUTIVES mingle, sip watermelon martinis. Nico's at the mic, addressing the crowd. She's calm, controlled, the picture of the perfect executive. NICO I'm Nico Reilly, Editor-in-chief of Bonfire Magazine. On behalf of the entire Matrick-Verner corporation I'd like to thank everyone who has made this moment possible... Especially Barry Santos for making the very wise choice of launching his first major print campaign in the pages of our magazine. But in all this excitement, we mustn't forget the real reason we're all here... money i The crowd laughs.

21. NICO {(CONT'D) ~ Now everyone, please enjoy. Thank you. They applaud, as Nico steps down. Mike Harness strolls over, tan as ever... all smiles and studied breeziness. MIKE Nice job up there, Nico. We did He kisses her on the cheek. She bristles at the "we". MIKE (CONT'D) Listen, I heard you threw a fit about me taking the meeting with Barry. It was no big deal. I ran into him at squash and we just ended up ironing the whole thing out over drinks. That's all. NICC Ch, thanks for clearing that up. {(with a polite smile) I have something to clear up too. When a woman in authority expresses her opinion, she's not "throwing a fit," she’'s just doing her job. Enjoy the party. She crosses off. ANOTHER EXECUTIVE rolls his eyes to Mike. EXECUTIVE Meow . Mike chuckles. INT. VICTORY'S APARTMENT - SAME The PHONE IS RINGING. Victory, in a sexy dressg, crosses to pick it up while putting on her shoes. VICTORY {into phone) Hello. ELLYN (0.S.} Ms. Ford? It's Ellyn from Greg . Bennett's office. The car is downstairs waiting for you: VICTORY Okay. Tell Mr. Bemnnett be right down. -. ELLYN (0.S.) No, not Mr. Bennett. The car. He's not actually in the car.

VICTORY He's not picking me up himself? ELLYN (0.S.) Oh no. He sends the car. The car will deliver you to him. VICTORY Coooochkay . Deliver her? What has she gotten herself into? INT. BONFIRE/TARGET LAUNCH PARTY - LITTLE LATER Nico's at the bar. A GORGEOUS GUY, 20s, approaches, sits next to her. He has a playful, sexy air about him. GORGEQUS GUY (to bartender) Vodka martini, rocks. And for you, pretty lady? Nico locks over her shoulder, then realizes he's talking to her. NICO Me? (amused) I'm good, thank you. GORGECUS GUY It've been trying to get your attention all night. NICO Really? And why is that? The way he's looking at her is meking her a little uncomfortable, but it's kind of nice. GORGEQUS GUY You don't remember me, do you? NICO I meet a lot of people. GUY Ch, we didn't actually meet. I watched you in action at the Bill Clinton shoot Friday. I was freelancing for Annie Leibowitz that day . . (holds out hand) Kirby Atwood. NICO Nico Reilly.

KIRBY Thig is lucky, huh? I couldn't take my eyes off you Friday, and now here I am meeting you, and I wasn't even going to come tonight. It's like... what's that word again? Sounds like -- NICO Kismet? KIREY Right. I like that about you. You're smart. You know words. Most people hardly know words anymore, have you noticed that? NICO Hrmm? It's hard to even hear what this guy's saying, the way he's looking at her. She doesn't even know how to react. Is this beautiful boy flirting with her? EXT. GREG BENNETT'S MANSION - SAME The Mercedes PULLS UP in front of GREG BENNETT'S MANSION that takes up AN ENTIRE CITY BLOCK. Whoa. A SECURITY MAN in suit and headset opens the door, escorts her in. SECURITY MAN (into headset) Ms. Ford is on the premises. VICTORY Do you greet all Mr. Bennett's visitors this way? SECURITY MAN Yes we do, ma'am. Look into the security camera, please, on the way in. victory looks up. THE SECURITY CAMERA Catches her bewildered look. INT. WENDY'S OFFICE - SAME CLOSE ON FLAT SCREEN TV More painfully bad DAILIES from the romantic comedy. Matthew McConaughey and Cameron Diaz are walking through a park filled with autumn leaves.

CAMERON DIAZ = (ON SCREEN) Because... (looking at him with big sparkly eyes) It was you, silly. It was always you. We fell in the Fall, just like the fortune cookie predicted. MATTHEW MCCONAUGHEY (ON SCREEN) Oh, that? 1I'd almost forgotten. (laughing) We did, didn't we? She kisses him, snuggles up against his chest... and he looks longingly at a MAN walking a dog. THE IMAGE FREEZES. WENDY {0.8.) That. Right there. Why is he doing that? We PULL BACK to REVEAL Wendy is alone in the office with the director, BRUNC CARR, 40's, hip, artsy, cocky. WENDY (CONT'D) It's the end of the movie, she loves him, there's leaves. Help me understand, Bruno. Why's he looking at the guy with the dog? BRUNO Ah. I'm glad you noticed that. It was subtle, but I like what we did there. The guy with the dog is the life he'll never have. You see, in my subtext, Billy is gay. WENDY What?! BRUNOC it's not something we even address in the script... but it gives the piece an interesting layer, don't vou think? I mean, who needs another frothy romantic comedy, right? WENDY Actually, Bruno. I do. {puts her hand on his leg, warm) Listen, it was a bold experiment, putting you on a lighter film like this, but I just don‘'t think it's a We're not happy and I don't think you're happy.

25. BRUNO What's happening here? WENDY So what I think we should do is say, ckay. We tried, it's not working. We're going to need to go at it a different way, okay? BRUNO WENDY I'm go sorry, Bruno. Please believe me when T say it's my deepest hope that we find another project -- the right project -- where we can work together again very soon. Bruno looks sad, but Wendy has such a nice way about her of giving bad news, he feels kind of okay about it. WENDY (CONT'D) Okay? {motherly hug) Ckay . INT. GREG'S STUDY - SAME victory stands in the doorway, Alice through the looking glass... GREG BENNETT sits behind a huge desk in his over- decorated study, on the phone. Early 50s, he's a Bruce Willis type, a little obnoxious, but with a rwinkle in his eye. He ushers her in. GREG (into phone) Yeah, Jack. He mouths "Nichelson." GREG (CONT'D) She just walked in... Of course she's pretty, she's gorgeous! Better than her picture. (to Victory) You want to say hello to Jack Nicholson? He shoves the phone into her hand. GREG (CONT'D) Go ahead, talk. really him. He's a buddy of mine. 8wear to God.

VICTORY No, really that's okay -- Hello, Jack. As Greg looks on, smiling at her, we... INT. WENDY'S LOFT - A LITTLE LATER Wendy runs in, to find an irritated Shane in the kitchen area. WENDY Sorry I'm late. SHANE Yeah. (tight) You called to say good night to the kids two hours ago and said you were on your way. Bveryone's asleep. WENDY I couldn’'t help it. I was waiting for someone to finish shooting. It's the job, you know -- SHANE Oh yes, Wendy, we all know how important your job is. {pointedly) I had a chance to get in to the chiropractor tonight, actually, if you'd gotten home when you sald you would. But that's fine, I'll just reschedule. WENDY Don't do that, Shane. SHANE What? Have my own commitments? Is that what I shouldn't do? WENDY Dammit, I am txying! I can't please everybody, okay? You think I wouldn't rather be home?! You think I'm out shopping and getting my nails done?! I was at work. This is a thirty million dollar movie that's falling apart and I had to fire the crazy director! My head's about ready to explode and I have to come home to this? SHANE Okay, okay, that's enough.

[ WENDY No, it isn't! It's not like I have a choice, Shane! You don't have a job. You've been through twelve "things you'd like to try", while I've been paying for our life. SHANE (blowing) You think I don't know that?! Why do you think I want to open a restayrant? S0 the next time I'm at a party with you and someone asks, what do you do?" I have a Goddamn answex! Ouch. Wendy realizes she's gone too far, feels bad. WENDY Okay, okay. I'm sorry, let's not fight. Okay, honey? I'm home now. This is silly, it's silly. What do you want? (£lirty) You want to have sex? Let's have sex right now. Come on, we're both just stressed out. Please. Shane's not giving it up... yet. SHANE I don't know, Wen. (then) Maybe 1if you... WENDY Oh. Is that what you want? OCkay, sweetie. Okay. . Let's not fight. Everything's fine. {then} Okay . and she drops her bags with a THUNK. Still with her coat on, she drops to her knees on the kitchen floor to... well... INT. BONFIRE/TARGET PARTY - SAME Nico and Kirby are still at the bar. He's moved in closer, she's on a second drink. KIRBY It was fun watching you at the shoot the other day. You never raised your veoice, but everyone knew who was in charge. Very hot. The way he's looking at her is unnerving. It's been years since anyone looked at her like this. God he has a gorgeous mouth.

28, NICO (getting up) Would you excuse me? INT. LADIES ROOM - CONTINUQUS Nico leans against the sink, grateful for a moment to think. suddenly THE DOOR OPENS. Kirby's followed her. He locks the door, and KISSES HER. Oh my God. She's taken aback, stops him. NICO Wait. Do you know how old I am? KIRBY I don't care. and he kisses her again. She stops him again. NICO are you looking for a job? He shakes his head, kisses her again NICO (CONT'D) I donit under KIRBY Shhh. You're sexy. Stop talking. And that gorgeous mouth is on hers again. Whoa. And we... FADE OUT. END OF ACT ONE

29. ACT TWO INT. BATHROOM -~ CONTINUCUS Nico and Kirby are as we left them. Xirby's kissing her neck, as she stands backed against the sink. She stops him for real, this time. No, no, no. I'm married. I don't do this. my and she turns and starts putting herself back together. Kirby maintains his puppyish sense of fun. KIRBY No worries, it's cool. Call me if you change your mind. NICO {overly formal) I will. Thank you. I'll do that. KIRBY Lemme give you my number. And he REACHES into his bag, pulls out A SHARPIE PEN, pulls aside the slit of her skirt and WRITES HIS PHONE NUMBER ON HER BARE THIGH. He leaves with a grin. Nico's dumbfounded. Did that really just happen? She licks her finger, tries to rub the number. It won't come off. INT. GREG BENNETT'S MANSICN FOYER - SAME Greg and Victory are getting ready to go. Greg's BARKING orders to ELLYN, as Victory waits and watches. GREG Is the car right in frent of the entrance? 1 want to leave the building and get right into the car. I don't want to be standing on the sidewalk locking for Bumpy. ELLYN (helping him into his coat) He's right in front. VICTORY Bumpy? GREG My driver. Loves the potholes. If there's a pothole within five hundred vards of the car, Bumpy'll find it. Isn't that right, Ellyn?

30. He escorts her out the door. Eliyn follows. EXT. BENNETT MANSION - CONTINUOUS They walk to the waiting car. Ellyn scurries behind them. GREG {to Ellyn, calling) Bubbles? {to Victory) I bring my own. They always serve ghit champagne at the Whitney. I told them to upgrade to at least Veuve, but they're cheap bastards. He gets into the car, escorts Victory in. With a patient smile, Ellyn hands him the chilled glasses and the champagne, closes the door. Victory catches eye, "Who does this guy think he is?" VICTORY'S POV: Ellen, through the window of the limo, SHRUGS helplessly. ELLYN Bye bye, now. You kids have fun. Greg pushes the buttcn, the SMOKED WINDOW of the limo rolls up, leaving Victory alone with this lunatic. INT. GREG'S MERCEDES -- CONTINUOUS The CAR PULLS OUT as Greg expertly pulls the foil off the champagne, pours. s GREG I'm really glad we're doing this. You're lovely. She's eyeing him, coolly. GREG (CONT'D) Okay, you're not lovely. You're hideous. I'm repelled at the sight of you. VICTORY Do you think it's really necessary to make your assistant carry your champagne bottle down to the car? GREG (unfazed) Why would she mind? She's the best paid secretary in New York. She loves me. VICTORY Cnly because she has to. (MORE}

VICTORY And why do you make her arrange your dates? Why can't you call a woman yourself? GREG Because, Victory, my time is worth about five thousand dollars a minute. Victory raises an eyebrow. Really? He sees that she's impressed, enjoys the upper hand. GREG (CONT'D) I'm not saying you're not worth it, but if I called myself and you turned me down, it would cost me close to twenty thousand deollars. VICTORY Surely you can afford that. GREG {with a grin) It's not what I can afford, it's what I choose to afford. You see, that's the true value of money. I don't have to do anything I don't want to. So you know if I choose to be with you, it's because I want to ne. EXT. STREET IN FRONT OF THE WHITNEY MUSEUM - CONTINUQUS The car pulls into the CROWD OF LIMOS. 1It's an absolute crush of vehicles. INT. LIMO - CONTINUOUS GREG I want it right next to the curb, Bump . BUMPY I'm trying, Mr. Bennett, but there's a limousine in front of us and -- VICTORY We can walk from -- GREG Screw the limousine! Come on, don't be afraid of pedestrians, they'll move. Honk the horn. Honk! Honk! 31.

32. VICTORY {blows) Will you stop it?! You're acting like a total lunatic! If you can't walk five feet to the curb you have a serious problem! GREG Ya hear that, Bump? We've only been together ten minutes and already, she knows me. Closer! Keep going! Suddenly, the car KA-CHUNKS up onto the sidewalk, slanting the vehicle at a strange angle. GREG {CONT'D) Excellent. Greg takes her hand, pulls her out of the car. GREG (CONT'D) Come on. I knew you'd be fun. EXT. LIMO - CONTINUOUS The limo is half on the sidewalk. Victory awkwardly climbs uphill out of the slanted vehicle as the well-dressed crowd stares. INT. NICO'S BEDROOM/DRESSING AREA - LATER THAT NIGHT Nico's in her bra and panties, getting ready for bed. she jooks down. Her POV: THE NUMBER ON HER THIGH. It didn't come off. CHARLES {0.8.) Are you coming to bed? It's late. She runs the water, scrubs at it again. NICO In a minute... ghe rubs harder -- ouch -- tries nail polish remover, but it's no use. She slips a long, silk nightgown over her head to cover the telltale number, walks out to the bedroom, where Charles sits, glasses on the bridge of his nose, pajamas. reading in bed. He glances up at her, smiles. she slides carefully under the covers, nervous. Will he reach for her? What if he sees it? But Charles just TURNS OUT THE LIGHT and rolls over, gives her leg a friendly pat, and goes to sleep. Nico lies, staring at the ceiling... relieved? INT. PER SE RESTAURANT - SAME The lights are low, the setting is beautiful. Victory and Greg are finishing dessert, and enjoying each other's company.

33. VICTORY (laughing) That's funny, I can't imagine you working in a deli. GREG Sure, I lied about my age to get the job -- said I was 21 and had a medical condition and that's why I couldn't grow facial hair. Been working ever since. She studies him, amused. VICTORY You know, you might not be as much of an asshole as I thought you were. GREG (with a smile) Well, you know what they say.... All men are assholes and all women are crazy. VICTORY So do you think I'm crazy? GREG Hmm... I'm not really sure yet. But those moments before you know the truth about someone really are the most exciting, aren't they? VICTORY (raising her glass) To the moments before. They drink and smile, feeling one such moment. Greg to the waiter. GREG The check. WAITER Mr. Bennett. The check has already been taken care of. GREG {surprised) Oh really? by who? VICTORY Whom. By whom. It's a subjunctive clause, actually.

34. GREG I don‘t care what it is, I want to know who picked up wy check. He looks as though he could actually beat someone up. WAITER It was the lady, Ms. Foxd. GREG Who? He looks around, almost as though he's forgotten he was having dinner with her. Then he gets it. GREG (CONT'D) Ch. Victory smiles a cute little smile, takes the last bite of the dessert. EXT. PER SE -~ A FEW MINUTES LATER They walk out into the chilly night. The mood has changed. VICTORY Why are you being such a baby about this? GREG {gruffly) You didn't need to do that, you know. VICTORY I don't need to do anything. I do what T want. Didn't you say yourself that's the beauty of money? GREG You know, I was going to invite you back for a drink, but I suppose this means you have other plans. VICTORY I guess I do. INT. TAXI - A FEW MINUTES LATER victory rides down Fifth Avenue alone. What exactly happened pack there? She looks out the window feeling a little blue-- is there anything lonelier than a cab ride home all by yourself? Her phone rings. She picks up. VICTORY

GREG (0.8.) I want you to know I'm potentially losing twenty thousand dollars by calling you myself. She breaks into a smile, charmed... maybe it's not the end of Greg Bennett after all... And we... DISSOLVE TO: INT. NICC'S DRESSING ROOM - THE NEXT MORNING Nico comes out of the cloget in just her golf shirt, is startled to find Charles right there looking for something. She covers her thigh, reflexively. Too late? CHARLES Did I surprise you? NICO (feigning casual) A little. I thought you'd left, that's all. CHARLES No. I was just on the phone with Mike Wallace. He was seeking my congultation on a story about a dispute they're having at the Getty over some antiquities that may have been obtained illegally from a site in Athens... Charles is busy searching through his papers and droning on, lost in his own thoughts, not even looking. She notices his mouth moving. CHARLES (CONT'D) He knew of the books I'd written back in the early eighties on a similar incident in Egypt... Nico considers a moment, then ever so slowly moves her hand away, exposing the number on her thigh. When he doesn’'t see, she crosses by him deliberately... almost daring him to notice. My God, does he ever even lock at her anymore? INT. WENDY'S OFFICE .- SAME Wenfiy’s eating her usual breakfast of a Diet Coke and a muffin, and looking over papers amidst the PILES of papers everywhere on her desk. WENDY {calling out to Josh) Leonardo's deal's still not closed? (MORE)

36. WENDY (CONT'D} Get Selden! And what is this? Why am I still getting a production report from the romantic comedy? I thought they were temporarily shut down! Josh appears in the doorway. JOSH Yeah... They're still shooting. I thought that was a little odd too. (a little accusatory) Didn't you fire the director? WENDY Yeg, I did, Josh. Dammit. Forget Selden. Get wme the producer right now, and let's find out what the hell's going on down there! JOSH You have muffin on your breast. Josh goes. Wendy looks down to brush the crumb off her chest... notices her boobs again... tries using her hands to give them a little lift... better. EXT. GOLF COURSE - LATER THAT MORNING Mike Harness is playing golf with Hector Matrick. A trim figure in a fantastic golf outfit strides across the course -- . MIKE Nico? NICO Mike! Isn't it funny how you can run into people in the strangest places -- Golf courses, sguash courts. I've decided I need to get ocut of the office more. Hope you boys don't mind a third. Mike puts on his megawatt smile, greets her with a cheek but clear he’s not thrilled she's there. HECTOR Please, join us! Mike could use a challenge. I'm playing for shit today. She notices his limping. NICO Oh, no. Sciatica flaring up again?

37. HECTOR What? This? Nah, I like to store the clubs I'm not using in wmy pants. And he pulls a putter out of his pant leg. Clearly the guy's nuts, but he's kind of charming. NICO (laughing) Well, I suppose that's one way to keep from losing them. I may just try that. Hector laughs. MIKE So, Hector, what I thinking for the Zurich conference -- HECTOR We'll talk about that later. You go on ahead. 1'll wait for Niceo to tee off. Mike's clearly not happy about this, but gets in his cart, drives on to his ball. Nico gets ready to tee off. HECTOR (CONT'D) So how is Bonfire doing this guarter? NICO Amazing. Our profites are up thirty- five percent. HECTOR (lets out a whistle) I wish all my publications were doing that well. NICO (under her breath) Well... they could be. HECTOR Clarify what you mean by that. Should she continue? NICO Nothing. If I were CEO, I'd just do things differently, I suppose. That's ail. She swings.