UGLY BETTY By Silvio Horta 12.16.05 Reveille

ACT ONE TITLE CARD: “UGLY BETTY” slams on screen with a thundering boom before we open tight on... HER. 24. Overweight. Bushy unibrow. Coke bottle glasses Bairspray caked bangs. beauty is defined by symmetry, Betty looks like a bomb went off at Disney Hall. She nervously clutches her briefcase as she sits inside... INT. MEADE PUBLICATIONS - HUMAN RESOURCES WAITING ROOM - DAY All muted tones except for Betty’s hideous, flaming red Jacklyn Smith pantsuit. A beautiful AMAZON sits next to her, fervidly texting on her Sidekick. She’s wearing a poncho. Betty looks at her, smiles sweetly. BETTY I like your poncho. My dad got me one in Guadalajara. The Amazon whips her head around. AMAZON Milan. Dolce & Gabbana. Fall. BETTY Oh. HR GUY Betty Suarez? Betty looks up to find a nebbishy HR GUY looking out over the interviewees. She stands up. BETTY Hi! That’s me. She smiles broadly revealing a mouth full of metal. The HR Guy stares at her like a bug. BETTY Should I follow you? The HR Guy looks her up and down. HR GUY Actually...there’s been a mistake. BETTY A mistake?

HR GUY All the entry level positions we were hiring for. They’'ve been filled. 1'm sorry. As he turns to walk away, we stay on Betty, deflated. She looks up, stares at the framed magazine covers on the walls. Everything from travel and cooking to highfalutin literature and fashion. She quickly steels herself. ANGLE ON HR GUY walking down the hallway... BETTY SIR! She‘s suddenly walking alongside him, upbeat and determined. BETTY While you got me here I thought I could tell you a little about myself. The HR Guy could not be any more annoyed. BETTY Magazines are my passion, ever since I was a kid, and I can‘t imagine a more amazing place to start my career than Meade Publications. The HR Guy not so gently grabs her elbow, starts easing her toward the bank of elevators. BETTY I know most of your magazines inside out. I try to devour as much as I can. HR GUY Clearly. BETTY And I‘'ve learned so much through them. About culture, politics, people. Stuff so beyond my world, like, I can tell you who had the biggest yacht in St. Tropez this year. Or why Gwyneth gets depressed. Or how to make a raspberry souffle. out of breath but trying to get as much in as she can.

BETTY got a good grasp on the business end too. distribution, ad sales. (beat) T have tons of ideas. always jotting stuff down on the subway. As she pulls some papers out of her briefcase, we notice an elegant, suited OLDER MAN (60's) watching Betty from afar, intrigued by her moxie. BETTY Up and coming writers and photographers, internet synergy... The HR Guy looks at her, exhausted. BETTY But I'm getting ahead of myself. All I really want sir is a chance -- in ANY position or publication. He pushes her into an open elevator, hits the “DOWN“ button. HR GUY Goodbye! BETTY (desperate) I can type 100 words a minute! As the doors SLAM SHUT on her mid-sentence, we CUT TO: A PIXELATED TELEVISION SCREEN. The splashy, techno-driven intro to “Fashion TV News Daily” begins. Uber-stylish, black British host NEAL DELONGPRE stares gravely into CAMERA. NEAL Good evening. The topsy-turvy world of fashion is in a dizzying state of mishigas after an unforgettably dramatical week. (facing another camera for added emphasis) Celebrity studded funeral services were held today for Fey Sommers, the much loved and hated Editor-in- Chief of fashion bible Gloss magazine. VIDEO MONTAGE of hyper-thin, surgically enhanced FEY SOMMERS: sitting front row at a fashion show;

sipping champagne at a function; on a city street as PETA activists dump a bucket of red paint on her fur coat. FREEZE FRAMF. on her face as she says “What the fuck?” Chyron reads - 2006" . NEAL (V.O.) Sommers died unexpectedly last week while undergoing routine liposuction. INT. FUNERAL - DAY (NEWS CLIP) A tall, regal BLONDE WOMAN (early 50’'s) delivers a eulogy. Chryon reads: WILHELMINA SLATER. WILHELMINA (somber) Fey lived for beauty...and she died for beauty... NEAL (V.O.) It was the bitch slap heard ‘round the world when longtime Gloss Creative Director Wilhelmina Slater was passed over for the top spot in favor of Daniel Meade... VIDEO MONTAGE of DANIEL MEADE (30), polished, masculine, incredibly handsome. Very JFK Jr. We see him: arm in arm with a beautiful woman; Playing touch football shirtless; at a paparazzi filled function with another beautiful woman. NEAL (V.O.) The nominally experienced son of Meade Publications owner Bradford Meade. INT. STUDIO - NIGHT NEAL On the eve of his first day on the job, the whole of the fashion world is wondering: can the notorious manwhore translate his talent at bedding women into dressing them? MAN (O.S.) (heavy Mexican accent) Put Channel 23 on!

@ The channel switches to a cheesy TELENOVELA. A quivering, teary- eyed LATINA BEAUTY in maid’'s uniform points a gun at a suited LATINO STUD. LATINA BEAUTY Me has matado mi alma! [You have killed my soul!] BEAT. He grabs her face, plants a deep, wet kiss. Over-the- top music swells as the gun drops from her hand. Pulling back, we find ourselves inside... INT. BETTY’S HOUSE ~ LIVING ROOM - NIGHT A tiny cluttered Queens rowhouse. JUSTIN, a 12 year-old who appears effeminate to everyone except his immediate family, holds the remote and pouts. JUSTIN I hate this. VOICE Justin you can watch Fashion TV later, when your aunt Betty is babysitting. Come have some flan. Justin walks toward the adjacent dining area where we find Betty, her very pregnant older sister HILDA (sporting an “Ask Me About Herbalife” pin) and their father IGNACIO (60‘s) who wears a janitor uniform. They’'re just finishing dinner. JUSTIN I don’'t want flan. get fat. HILDA be silly honey, you’'re a boy. It doesn’t matter if fat or not. {beat) So Ronnie is getting the Windstar. IGNACIO (eyes glued to telenovela) Does it have airbags? HILDA It’s a 2003, of course it has airbags. And leather seats. BETTY (strained) That’s great.

IGNACIO (changing subjects) How was your interview Betty? BETTY Good! T think they were really impressed. Hilda stares at her, knows her well. HILDA You didn‘t get it. BETTY Well, they‘d already hired everyone they needed. IGNACIO (shaking his head) I don‘t understand. You‘re smart, prepared. Someone should’ve begged you to come work for them the day you graduated. BETTY Well five months isn’t that long -- in the scheme of things. HILDA The job market is crazy, especially in that field. (beat) Betty, have you thought about exploring other options? Maybe there’s something else you’d like to do where have more control, flexibility -- ‘BETTY Hilda, not gonna sell Herbalife. HILDA I'm not saying that necessarily. just, okay, if and when you finally get a publishing job, then what? 45 minutes on the 7 train -- each way, every day. Horrible pay. Slaving away for hours. No time for family, friends, relationships. IGNACIO This career is Betty’s dream.

A beat. HILDA Well I hear someone else has some big dreams too. BETTY are you talking about? HILDA Justin, tell Betty what her boyfriend was saying the other night. We notice Justin making a t-shirt with his Bedazzler set. JUSTIN Walter was on his cell and said something like “I want to spend the rest of my life with her.” Ignacio looks at Betty. IGNACIO He wants to marry you? Betty looks surprised, shakes her head. BETTY He hasn’t said anything but maybe that‘s why he’'s been acting so weird. JUSTIN Would you do it? BETTY I don‘t know -- I haven‘t really thought about it. HILDA Well, I think he’s a catch. Flan? Betty stares at it. She really wants it. BETTY I‘m going to pass. HILDA Wow -- everyone’s on a diet tonight.

1GNACIO (grabbing plate) T'm not. Just then a knock on the door. BETTY It's him. Betty gets up to open the door and we meet her boyfriend WALTER TABACHNICK. Looks wise, about evenly matched. He waves at the family, says hello. BETTY You're just in time for dessert. WALTER I already ate. Um, Betty, can we go outside and talk? Betty looks back at Hilda who smiles, prods her on. BETTY Um, sure. As she nervously steps onto the front porch with him, CAMERA pulls up above... EXT. BETTY’'S HOUSE - NIGHT Looking out over her working class Queens neighborhood, the New York skyline just a pale glimmer in the distance. suddenly, CGI shot as CAMERA HURLS FORWARD until... WE APPEAR TO BE HOVERING RIGHT OVER MIDTOWN MANHATTAN. Pulling back through floor to ceiling windows we find ourselves inside... INT. DANIEL MEADE'S OFFICE - NIGHT Spacious and sleekly furnished. We find DANIEL MEADE leaning back in his desk chair. His eyes are shut but he appears to be in a state of blissful meditation. MAN‘S VOICE How do you like your new office? His eyes shoot open. The OLDER MAN we saw earlier watching Betty from afar is standing in the doorway.

DANIEL You scared me. (beat.) Will you give me a few minutes? 1 have some things to wrap up before I leave. Bradford turns to leave when he sees a pair of panties dangling from the pussy willow arrangement. He grabs them. BRADFORD Interesting decorating motif. Just then we see something rustling under Daniel’s desk. Bradford stares. Daniel looks down, mumbles something, and from under his desk emerges the Amazon that was sitting next to Betty in HR. DANIEL Father, I'd like you to met my new assistant Charmaine. BRADFORD Charmaine, I‘m sure you can finish giving dictation later...I need to have a chat with my son. Off a red-faced Daniel... BETTY (V.0.) I don’t understand. EXT. BETTY'S HOUSE - FRONT PORCH - NIGHT Betty sits on a rickety chair, crushed. WALTER just not working out. Betty nods, processing this then, then: BETTY You know, I just read an article about this. Having doubts around the one-year mark is perfectly normal and expected. It just takes a little work but we can get through this. Walter is silent.

10. BETTY Like...we’'ve never gone away anywhere and it might be good, even if just for the weckend. 1°'ve seen some good deals online. Betty looks to make sure no one's around, then whispers. BETTY And you know, in the bedroom, things we can try to, you know, spice it up. (beat) There’s also counseling. Not far from here there’s a place, not expensive at all that -- WALTER (cutting her off) I‘'m in love with someone else. Beat. BETTY Ch. WALTER I'm so sorry. An awkward silence. WALTER Well, I um, —- BETTY It's okay Walter. You don’t have to say anything else. Walter nods, turns to walk away. WALTER Good luck. With everything. She forces a smile for a moment before turning away, looking like her heart’s been ripped from her chest. As she walks through the front door...MATCH CUT TO: A DOOR slamming open. Daniel and Bradford walk out onto...

@ EXT. A breathtaking 360 degree view of the city. MEADE PUBLICATIONS BUILDING - ROOFTOP - NIGHT sits on the helipad, waiting. BRADFORD This building is a testament both to the success and failure of this company and family. 50 stories. 100,000 tons of steel. An architectural gem. (beat) Two people died during construction. A welder who knew all the dangers when he took on the job. And your brother. Daniel looks at his emotional father. The words send a chill down Daniel‘s spine. DANIEL I know you were grooming him to take over. And I know you didn’t expect that responsibility to ever fall on my shoulders. But I need you to please start having some faith in me and my abilities. BRADFORD How can 1 when you seem to be more focused on chasing tail than selling magazines? I don‘t need to tell you this company has a lot of enemies, both inside and out. Gloss is a stepping-stone for you, but an important one. You succeed at this...your place in the company is assured. You fail...well the magazine will survive, Wilhelmina can easily take over. But for you, it could be the end of the line. toward the helicopter pilot who opens the door. Bradford a martini as he steps in. BRADFORD I don't want this Charmaine woman working for you. The helicopter blades start to WHIR. 11. A helicopter Bradford motions He hands As he takes a hard sip.

(@ 12. DANIEL I think I'm perfectly capable of hiring my own assistant. BRADFORD The money we paid out to the two who claimed sexual harassment would point to the contrary -~ and I don‘t care if they came on to you first. You need someone who's good. And someone you won’t wanna screw if your life depended on it. DANIEL And who exactly do you have in mind? INT. BETTY'S HOUSE - LIVING ROOM - NIGHT Betty sits on the couch, gorging on leftover flan while quietly watching a re-run of “Girlfriends” with her nephew. As she shoves a big, heaping glob into her mouth... JUSTIN You sure you're okay? BETTY Mmm-hmmm. I‘m fine. The phone RINGS. She motions for Justin to pick it up. JUSTIN Hello? (to Betty) A guy from Meat Publications. A beat -- huh? Then Betty’s eyes widen. BETTY Meade. She swallows hard, grabs the phone. BETTY This is Betty Suarez. Uh-huh.. Uh- huh. You serious? Of course I can start tomorrow. What magazine is it for? Gloss. She looks at Justin who, without missing a beat, reaches into his backpack, pulls out the latest issue.

13. BETTY Yes, see you first thing. (hanging up; happily in shock) Assistant to the editor-in-chief. They start flipping through the magazine together and we catch glimpses of the content: models, couture, beauty tips. JUSTIN I didn’t know you wanted to work at Gloss. Betty sees the title of an article: “DUMPED: Why It’s Your Fault.” She shuts the magazine. BETTY Well it definitely wouldn’t have been my first choice. But it doesn’t matter. It‘s a Meade Publication. If I do well there, I can go anywhere in the company. JUSTIN Well, just try and dress fashionably. Do you have anything? Betty thinks a moment. Something hits her. BETTY Actually I do. SMASH CUT TO: INT. GLOSS MAGAZINE - LOBBY - DAY ELEVATOR DOORS OPEN TO REVEAL... BETTY. Smiling. Confident. And wearing her Guadalajara tourist poncho that literally has “GUADALAJARA!” splashed across the front. No one except Betty would mistake this for D&G. As she steps into the iPodesque lobby, the RECEPTIONIST’s jaw drops. RECEPTIONIST - oh. My. God. END OF ACT ONE

14. ACT TWO INT. GLOSS MAGAZINE - LOBBY - DAY Betty walks toward the headset-wearing receptionist AMANDA (late Unlike most of the natural beauties gracing the framed Gloss covers on the walls, Amanda’s a knockout who's had to work at it: tireless hours at the gym, dermatologist, Jenny Craig. She smiles politely. AMANDA Hi, you the "before”? BETTY Huh? AMANDA Before and after stomach stapling. The photo shoot? BETTY I'm working here. Amanda stares at her. We hear a tinny voice on the headset saying, “Are you there?” She CLICKS off. AMANDA For? BETTY The new Editor-in-Chief. She continues staring -- this does not appear to be computing for Amanda. Betty is getting annoyed. BETTY Can you please tell me where to go? AMANDA Yeah, follow me. INT. GLOSS MAGAZINE - BULLPEN - DAY Amanda leads her through the half-empty offices. AMANDA Everyone’s in the conference room, Daniel’'s about to start his first staff meeting. I’'m Amanda by the way.

@ BETTY Betty. AMANDA FYT Betty, assistants are usually here before their bosses. BETTY Oh, I was filling out paperwork in H.R. and -- AMANDA Just try not to let it happen again. So where do you come from? BETTY Queens. Amanda looks at her like she’s retarded. AMANDA Wwhat job were you doing. BETTY Well aside from internships and part-time work to pay for school...this is my first real job. AMANDA That‘s interesting. I was told I didn’t have enough experience for the position. It’s over there. She points to the conference room, huffs off. Betty takes a moment, looks toward the closed door. BETTY (to herself) You are an attractive, confident, intelligent businesswoman. She starts for the room, shoulders back, head held high. She‘s a little wobbly in her heels but she’'s doing her best. INT. GLOSS MAGAZINE - CONFERENCE ROOM - DAY The entire staff is gathered, going around the table stating their name and title. A spikey-haired stoner guy with a slow speaking cadence is up. GEOFF Geoff Walker, art de --

16. JUST THEN, Betty walks through the door, trips in her heels, talls flat on her face. GEOFF -- partment...are you okay? ANGLE ON END OF THE TABLE --- Betty’s head pops up. She looks out over the 40 intimidating fashionistas all staring at her, deathly quiet. BETTY Yes! 1I'm fine. Heel broke. All good, 1 got sneaks in the bag. (beat) um, hi. I'm Betty Suarez, assistant to the Editor-in-Chief. 200M IN ON DANIEL -- at the other end of the table, staring at her, completely mortified. This is his new assistant? Betty sits at one of the empty chairs lined up against the wall. DANIEL Well, before we continue —- As Betty adjusts in the chair, we hear a god-awful SCRAPING sound as the chair back pushes up against the wall. She catches herself, stops. DANIEL Um, before we continue, I gotta confess 1'm probably not gonna remember all your names and titles just yet. Some CHUCKLES. DANIEL But I promise I‘1ll get there. I wish I wasn’t coming in as the new guy under such terrible circumstances. I know I have some awful big -- HIS POV —- he sees Betty. She smiles at him, almost blinding him with her braces. DANIEL Teeth. (catching himself) Shoes -- shoes to fill. (MORE)

(@ 17. DANIEL (cont'd) I can’'t tell you how excited 1 am to be working with such an amazingly talented, dedicated staff. And T wanted to take the moment to talk a little about my vision for Just then the door FLIES OPEN and in tromps WILHELMINA SLATER. dark sunglasses. Blazing Pucci print scarf around her head. Exquisitely tailored Chanel suit. If Leona Helmsley’s sperm fertilized Jackie 0’s egg, this would be their love child. Trailing behind her, preppy, perfectly put- together, bitchy male assistant MARC. WILHELMINA (unwrapping scarf) So sorry I'm late. She stops in her tracks, pulls off her sunglasses. Looking out over everyone, hurt in her eyes... WILHELMINA Oh...you began without me. DANIEL I'm sorry Wilhelmina I -- WILHELMINA SHHH. Marc. Gift. Marc runs over to Daniel, hands him a gift box. DANIEL Thank you. As I was saying -- WILHELMINA Aren’t you gonna open it? ON BETTY -- intently observing the interaction. Daniel takes a moment, opens the box. A glass paperweight engraved with the date and Daniel’s name. WILHELMINA (beaming) Baccarat crystal. To commemorate your first day. DANIEL (staring at it) Thank you. But it’s Daniel, not Danny. WILHELMINA WHAT?

i8. She glides over, stares at the mistake, completely calm. WILHELMINA 1 am hellaciously upset Marc. MARC Ohmigod I'm so sorr - WILHELMTNA SHHHHH. (to Daniel) Purge this from memory. Please. DANIEL AS I WAS SAYING -- WILHELMINA (taking a seat) Well I think we have to discuss the Renata Cosmetics supplement. DANIEL Renata Cosmetics supplement? WILHELMINA The biggest ad buy of the year and the only paid layout editorial ever works on. Betty makes sure to take notes on this. DANIEL I‘m sure Renata will love what we come up with. WILHELMINA Daniel, you don’t understand. Given the new circumstances, Renata needs to sign off on the spread before we go to print. Obviously we’re all here to help you succeed and we’ve been working on several ideas. Continued ad buys from Renata will make the publishing side of Gloss and your father very, very happy. Before Daniel can say another word, Wilhelmina's hijacking of the meeting continues.

19. WILHELMINA Now Daniel, T know if you're aware, but we close book in less than two weeks. We all need to get back to work to make this, the very first issue with your name on the masthead, SPARKLE. (beat) Everyone, lets not dilly dally -- our Editor needs us. She stands up and everyone follows suit. As Marc walks past Betty... MARC Killer poncho. BETTY Thanks! As soon as she turns around, he mimes vomiting. Betty approaches Daniel who looks as though he’'s just been castrated. BETTY Mr. Meade I just wanted to personally introduce myself. I'm sorry for the accident and my tardiness -- HR kept me down there forever -- but not making excuses and I promise 1 will always be here before you or anyone else. Is there anything in particular you’d like me to do right now? ON DANIEL -- appearing shell-shocked, both from the meeting and her appearance. BETTY Well, um, I know you have a lot on your plate. Maybe 1 can start by putting together a list of the staff with their pictures to help you remember them. Um, okay, well I'11 —- Heels in hand, Betty awkwardly turns and walks out. Off Daniel staring at the diminutive “Danny” on the paperweight. .. CUT TO:

SMALL, BLOODY PUNCTURE MARKS. WILHELMINA’'S VOICE Are you getting the crease under the hairline? MARC Yes Willie. INT. WILHELMINA’S OFFICE - DAY Reveal Marc injecting Botox into her forehead. WILHELMINA Twenty years Marc. Marc’s face -- here she goes again. WILHELMINA No one has worked harder. Better. I have bled for this magazine. Helped turn it into the icon it is today. And now that nasty, nepotistic son of a bitch gives MY job to to -- MARC His son. WILHELMINA A self-absorbed lothario punk who knows NOTHING about fashion. Wilhelmina looks up at Marc, vulnerable. WILHELMINA Tell me the truth...is it because I‘m getting old? MARC ABSOLUTELY NOT. (beat) Though maybe just a tad more between the brows. He jams the needle into her face. . MARC k. what are you going to do? 20.

@ wilhelmina thinks about this. WIT.HELMINA Nothing. I have a feeling he’ll need no help falling flat on his face. MARC well he’s well on his way. I mean could you believe that assistant? This is Gloss, not Dog Fancy. (beat) Done. Wilhelmina gets up, stares in the mirror. Even though her forehead is still bloody, she smiles to herself, pleased. Marc holds up the syringe -- there’'s just a tiny bit left. MARC Wwhat should I do with the leftover? WILHELMINA All yours. Marc is positively giddy. Just then cell phone rings. She looks at the display. WILHELMINA Give me a moment Marc. He leaves the room. WILHELMINA How are you recovering? (beat) Well I'm sure you’ll be better once everything starts coming to a boil here. INT. GLOSS - BULLPEN - DAY Betty sits at her computer, putting together the list of employees with their pictures. Behind her we see Daniel in his office talking to another man. AMANDA what are you doing? BETTY Making an employee list for Daniel.

AMANDA 22. (staring at screen) Ugh, 1 hate that pic of me. My pores look so Cameron D. You don’t need it. baniel knows exactly who I am. Who’s he in with? BETTY Craig Dawson, the photographer. AMANDA Ooooh -- he‘s gonna do the Renata , isn‘t he? Craig’'s amazing, shot like everything. supplement BETTY I know. seem to be good friends. AMANDA Yeah, there’d been some drama -- paniel hooked up with Craig’s ex- girlfriend a couple of years ago, but they’re fine now. amanda stares at Craig through the office window. AMANDA (bragging) We went out for like a week. And they don’t call him the tripod just ‘cause he’s a photographer if you catch my drift. Off Betty, desperately not wanting to hear any more... INT. DANIEL'S - DAY Daniel’s sitting with CRAIG DAWSON (30°s). Loud, brash, good- looking...he's the photographer equivalent to Warren Beatty's hairdresser in photographs and sketches. No. No. CRAIG As he flips through a portfolio of Too down. Too out. Can‘t go there. DANIEL All of this SUCKS. That’s what I thought. {taking a moment) Craig, can I trust you with something?

CRAIG of course man, you know you're like my bro. DANIEL Look, 1 don‘t think anyone wants me here. Especially Wilhelmina. CRAIG well, that’s no secret. DANIEL She’'s trying to send me on a wrong direction with these ideas. CRAIG Well I°11 tell you what the right direction is: HARD. DANIEL Hard? CRAIG Hard. Edgy. A little lewd but not lascivious. Metaphorically the crack of the ass versus the whole thing...you know what I mean? DANIEL Um -- kinda. You have any ideas? CRAIG Like, a million. But we should keep things on the Q.T. -- you don’t want these people mucking things up. Daniel nods. Just then, the door opens. Betty. BETTY Sorry to interrupt. Would you like me to get you lunch? DANIEL No, but you go ahead. BETTY (to Craig; sweetly) um, I just wanted to say what a big fan I am of your work. That Traveler layout with the tiki torches was gorgeous. (MORE) 23.

BETTY (cont'd} Reminded me of a Hiroaki piece I saw once in this Japancse magazine. Craiq is taken aback, like he’s been caught. CRAIG I don’t know what you’'re talking about. I don‘t look at other photographer’s stuff. BETTY Oh. I wasn’t saying -- um, I should go. As she shuts the door, we can tell Craig is steaming. CRAIG Okay dude, what’s the story here, I know the type of women you hire. DANIEL My father made me. CRAIG You'‘re kidding me. DANIEL . Look, she appears to be good. Capable. A go-getter. CRAIG FUGLY. Listen to me, you are the editor-in-chief of Gloss Magazine. Image is everything in fashion. that what you want representing you? Paparazzi taking your picture and she’'s standing behind you? NO. DANIEL I can‘t fire her, Craig. CRAIG Well what if she quits? DANIEL And how do I get her to do that? CRAIG Beat her down. To a pulp. Off Daniel... O END OF ACT TWO 24.

ACT THREE INT. MEADE PUBLICATTONS CAFETERTA - DAY A sleek, gorgeous spacec that’s more SoHo eatery than office cafeteria. Tracking through the assorted food stations, we find Betty at the grill. The server plops something on her tray. She stares at it. BETTY I‘m sorry, I said a hamburger. SERVER Right. ANGLE ON TRAY -- there‘s just a tiny beef patty wrapped in lettuce leaves there. BETTY the bread? From his look, she might as well be speaking Klingon. He pulls out some skinny breadsticks, tosses it on her tray. SERVER NEXT. As Betty moves through the cafeteria alone, it’s like being back in high school. The various cliques of the magazine world all huddled together under one roof: Pastel clad “socials” from the upper crust lifestyle magazine; Intellectual snobs from the literature one; gay men with too much hair product from the GQ equivalent. Betty doesn‘t quite fit in with any of them. Just then... WOMAN'S VOICE Hey you. Betty turns over to find a homely woman in a Mary Kate Olsen/Bag Lady style outfit waving at her. CHRISTINA (raspy New York accent) Betty, right? Daniel Meade’'s assistant. BETTY (taking a seat) How do you know?

CHRISTINA Oh, everyone knows everything around here. [‘m Christina, 1 work in the Closet. BETTY Closet? CHRISTINA where all the clothes are kept. I keep track of things, act as in- house seamstress. Sometimes they even let me keep the crappy stuff from last season but I have to improvise ‘cause everything’s a size zero. Voila... she points proudly to her outfit --- silk paisley and Scottish tartan -- obviously two dresses sewn together. Betty nods, impressed. CHRISTINA Anyway I like it ‘cause I'm mostly by myself, away from the Chic-ees BETTY Chic--ees? CHRISTINA The bitches that work at Gloss. Hey girls! We meet two more women: tall, gangly NANCY and sassy, morbidly obese ZELDA. CHRISTINA Zelda, Nancy, this is Betty. ZELDA you’‘re the one working for Daniel. BETTY Right. What do you guys do? NANCY Floater -- anywhere the company needs me, I‘m there. ZELDA Phone subscriptions. (beat) Close your eyes, I°1ll show you. 26.

27. As purrs her sales pitch, we realize her voice could not. correspond any less to her actual appearance. ZELDA Sir, each issue of “Metropolitan Dude” is full of wonderful features, informative reviews and photographs of some of the most beautiful women in the world. Like me? They wish they looked like me. Now give me your credit card number stud... As everyone laughs, Betty keeps her eyes shut. ZELDA Baby girl, you can open your eyes now. NANCY So how are the Chic-ees treating you? BETTY Um, well everyone appears to be pretty nice so far. They all look at one another, burst into laughter. BETTY I‘m serious. O©Oh, there’s Marc. She waves, smiles. ANGLE ON MARC —- one eyebrow is normal, the other is pointing straight up, Kidman-like....that’s all the leftover Botox could cover. Through his clenched, toothy grin... MARC Look, it’s the bizarro version of “Sex and the City.” He's walking with Amanda, post-lunch. She starts cracking up. AMANDA Stop it, I‘m gagging. MARC (serious) Take advantage and go upchuck this minute.

Amanda nods intently and runs to the bathroom. BACK TO THE GIRLS CHRISTINA Well Betty, we're all proud of you. NANCY a coup landing such a high-profile gig...especially given Daniel’s reputation. BETTY which is? They look at one another. ZELDA Well how do I put this politely? The man’s a DOG. NANCY Loves the models. CHRISTINA pates them, sleeps with them, hires them to be his assistant... sometimes all three at once. BETTY Oh. ZELDA Not that you’re not adorable. NANCY Not at all. CHRISTINA But not exactly the type he usually hires. But maybe now, in his new position, he‘s finally growing up. BETTY well I just really want to impress him. I was thinking of putting together my own mock version of this ad layout he has to do -- so he can get a sense of my taste and abilities.

29. NANCY showing a little initiative...not a bad idea. CHRISTINA Well if there’s anything you need for it, we’'re here for you. You've qot access to next season’'s stuff if you want it. NANCY I can actually get a hold of art and graphics from the other magazines. Beat. They stare at Zelda. ZELDA what? They’‘re not talking pictures. (beat) Tell you what? help you with other stuff. First and foremost where to find food that’s actually gonna fill you up around here. . Cooking magazine on floor 15? Mmm- @ o, They laugh. BETTY Thank you all so much. Just then, her phone RINGS. BETTY. (answering) Yes Daniel. 1‘l1 be right there. (standing) I have to get back. It was great meeting you. CHRISTINA See you Betty. Not having taken a bite of her burger, Betty goes to grab one of the to-go containers. ZELDA So how long do you give her? 4 NANCY Two weeks tops.

They glumly shake their heads. INT. GLOSS BULLPEN - DAY Betty turns the corner to find Daniel, standing over her desk. BETTY Hi. He stares at her to-go container. DANIEL Is that food? From his tone, he might as well have said filth. throws it in the wastebasket. BETTY No. He heads toward his office. She follows him. INT. DANIEL’S OFFICE - DAY DANIEL I need a helicopter. BETTY Okay. DANIEL In 15 minutes. Betty stops. Looks at the clock: 1:30. BETTY Um, all right. By any chance do you know where I can book a helicopter last minute? Daniel glares at her. BETTY I'm sorry, uh -- As she turns to walk out. DANIEL Betty. I can smell the food. BEAT. 30. She

31. As Betty goes for the wastebasket to get the burger out of here. .. NOTE: MONTAGE SEQUENCE. INT. GLOSS MAGAZINE - BULLPEN - DAY ON THE CLOCK: Less than a minute left to go. Betiy's on the phone, frantic. Suddenly she slams it down. Appears beaten. Daniel walks out of his office, is about to scream at her when Betty points behind him: IN THE WINDOW, we see a helicopter pulling up toward the roof. Daniel’s taken for a loop. He can’'t believe she was able to accomplish a seemingly impossible task. INT. BETTY'S ROOM - NIGHT It‘s 3 a.m. A grumpy Ignacio nudges Betty awake, hands her the phone. She suddenly bolts upright, starts writing things down on a notepad with the heading “Daniel’s Nocturnal Thoughts.” INT. GLOSS - BULLPEN - DAY Betty is scanning online sales data on Renata Cosmetics, cutting and pasting facts and figures. Suddenly, Daniel slams his coffee cup on her desk, starts screaming at her about it not being hot enough. EXT. SEEDY NEIGHBORHOOD - NIGHT Trannies, drug dealers, gangbangers, BETTY. She’s skittish as she makes her way down the street, reading a note that says, “Daniel’s Favorite Bakery” with an address. She stops in front of it —-- it’'s out of business, has been for a while. Just then, GUNSHOTS -- she ducks. Looks up. It‘s a kid walking past with a PSP game console. INT. BETTY'S HOUSE - NIGHT We‘'re tight on a Post-It which reads, “Betty - can you buy candles for dad‘s b-day cake?” Pulling away, we find Betty, preparing to take digital pictures of an of-the-moment outfit from the Closet. Justin smacks a brooch from her hand, accessorizes it with his own choices. Clearly, the fashion aspect of this project is not her forte.

32. INT. RACQUETBALI, COURT - NIGHT Daniel is playing with Craig. He motions to her that he needs the sweat--drenched towel he’'s making her hold. She runs toward him just as Craig hits the ball, SMASHING her on the head. INT. GLOSS BULLPEN - DAY Betty is at her desk, swamped with work. An IM pops on her computer screen. It’s from Walter. “Can we talk?” Betty is taken aback, can‘t seem to deal with it right now. She clicks off. Just then, Nancy walks past, drops off a CD-ROM labeled “Luxury Location Stills.” Off Betty'’'s grateful smile... NOTE: END MONTAGE SEQUENCE. EXT. TRIBECA CITY STREET - NIGHT A freezing night. Betty, bundled up in a goose-down jacket, sits on a bus bench across from Daniel’s building, a homeless man sleeping next to her. on her laptop, laying text next to a photoshopped image of a model. Her cell phone RINGS. Its Hilda. BETTY -- HILDA Where are you Betty? BETTY Still working. HILDA You forgot didn’t you? Betty gasps. BETTY Oh my God, dad’s birthday. I was so busy I -- Just then, something catches her eye. BETTY Look, I gotta go, I’'ll be there as soon as 1 can.

33. She hangs up, pulls a pair of binoculars from her bay. BINOCULAR POV -- a GORGEOUS WOMAN is getting out of a cab. Betty quickly dials her cell. BETTY (into phone) Um...the red turkey is on the move. INT. DANIEL'S LOFT - NIGHT The ultimate bachelor pad. Daniel is shirtless, in bed. He hits “MUTE.” DANIEL It's work stuff...sleep over another night? Pull back to reveal...AMANDA, next to him. AMANDA Sure. As she gets up, hurriedly gets dressed. AMANDA So when do you think the position’s going to open? DANIEL Hopefully very very soon. Amanda smiles, kisses him. AMANDA Mmmm. . .good night. As she walks out, he takes off “MUTE.” DANIEL Hey. BETTY (O.S.) Hi...do you need anything else? DANIEL Yeah, why don’t you stick around for a bit, make sure everything’s okay. BETTY (O.S.) No problem!

34. CLICK. He hangs up, annoyed that nothing seems to be getting to her. He looks out the window, sees her shivering in the cold. We can sce a pang of guilt in his eyes. He's about to call her back when the door opens -- the gorgeous woman is walking in. DANIEL (smiling) Perfect timing... EXT. CITY STREET - NIGHT Betty looks at her watch: 9:30. She looks miserable. Just then, she sees Wilhelmina walking out of a nearby restaurant and toward a waiting town car. She stops, stares at her. WILHELMINA Netty? BETTY Betty. R WILHELMINA You're waiting for a bus? BETTY um. Yeah. E WILHELMINA Well, I'd offer you a ride but I don‘t think we’re going in the same direction. Stay warm! She jumps into the car and... INT. TOWN CAR - NIGHT Looks down toward the floor. WILHELMINA Get up you idiot she didn’t see you. {beat) Now give me some love. Before we see who's else is in there, we pull away, left only with the sound of slobbery kissing.

35. INT. BETTY'S HOUSE - NIGHT Betty opens the front door. It's dark. BETTY Hello? Remnants of a party but everyone’s gone or asleep. Betty walks toward the one lit table lamp, finds a note. "We leit you a piece of cake. in the fridge -- Hilda.” As Betty collapses on the couch, exhausted and frustrated... END OF ACT THREE

36. ACT FOUR INT. GLOSS BULLPEN - DAY Betty’s trying to keep up with paniel as he marches through the office, cell phone in one hand, blackberry in the other. DANIEL (into earpiece) Totally on the brink. gonna be major. He climbs into... INT. ELEVATOR - DAY The doors almost close on Betty. DANIEL I'm on my way to set as we speak...hello? The signal’s dropped. He yanks the earpiece out. An awkward silence as the elevator glides down, just the two of them. Something’s on Betty’s mind. BETTY Exciting day. He looks at her. BETTY Um, with the photo shoot. No response from Daniel. BETTY paniel, I was just wondering if you had a chance to look at that e-mail I sent you last week. The one with my idea for the Renata supplement. The elevator doors open. Daniel wastes no time stepping out. INT. MEADE PUBLICATIONS LOBBY - DAY Betty catches up to him.

37. BETTY Obviously you decided to go a direction, but 1if you have any feedback, just ‘cause [’'m trying to learn as much as 1 can and -- DANILEL Not. Gloss. BETTY Okay. Any specifics? DANIEL The specifics are...it’s just not Gloss. They step out to... EXT. MEADE PUBLICATIONS BUILDING - DAY Where Daniel’s town car is waiting. DANIEL (clicking on blackberry) Betty, T really don’t have time for this. BETTY Right. sorry. DANIEL (staring at message on Blackberry) Damn it. They forgot one of the outfits. Go up to the Closet and bring it over to set. Betty turns back around. BETTY (under her breath) Please. As she turns to walk back inside, Daniel checks his blackberry again. ANGLE ON SCREEN -- the e-mail in-box. Sitting there, unread, is Betty’s e-mail entitled “Renata Supplement Idea.” With a quick click he sends it to the Trash folder before stepping into his town car.

38. INT. CLOSET - DAY Less ol a closet than a giant, crammed boutique. Racks upon racks of incredibly beautiful and expensive clothes, shoes and accessories. We follow Betly as she slowly walks through the room. Even for someone not into fashion, it's an impressive sight. She sees a dangling price tag. Takes a look. Her eyes widen. Just then we see Christina. CHRISTINA Feel the fabric on that thing. Betty runs her fingers over the funky, dark dress. BETTY Kind of rough. CHRISTINA That’s ‘cause it’s burlap. Basically, you’re talking $7,000 for a designer potato sack. BETTY (shaking her head) I can‘t believe people buy this stuff. CHRISTINA I can‘t believe they wear it. (laughing) usually just once before they chuck it to make room for next season. But that’s fashion. And I gotta say, I do love it. (beat; giving her outfit a once over) You‘re not much into it, huh? BETTY Fashion? Not really. 1 love magazines. Always have. {beat) when I was a kid, my dad worked at a newsstand. After my mom died I'd go there after school, spend hours just reading everything I could. Even if I didn‘t understand the articles, I loved looking at the pictures. BAll these beautiful, amazing places, people. (MORE)

BETTY (cont'd) So different than 1%0th and Flushing Boulevard, you know? I always said [ wanted to own a magazine someday...which I know sounds out there but -- CHRISTINA Hey...not as out there as saying you want to be a designer. You should see some of the reactions 1 get -- from my family, the people here. So 1 just keep to myself, quietly do my thing...it‘1ll happen. (beat) How’s it going? Betty takes a deep breath, shines her best smile. BETTY It's good. You know. Challenging. More challenging than I imagined. But I‘'m learning a lot. think. And I just have to roll with the punches and I think I‘1ll get used to it. Christina stares at her. CHRISTINA Brutal, huh? Betty’s smile crumbles, she nods. BETTY I just -- nothing I do is ever good enough. He treats me like dirt. Everyone does. I know I don‘t really fit in. But I‘m trying so hard to do a good job and it just doesn’t seem to matter. Christina looks down. There’s something on her mind. BETTY wWhat? CHRISTINA Betty, I wasn’t sure whether to tell you or not but...I thirnk it’s best if you know. BETTY Yeah? 39.

(@ A beat. CBRISTINA Nancy was down at Human Resources. some of the people there were talking. And apparently, Bradford was the one who wanted to hire you. BETTY (excited) Bradford Meade knows who I am? CHRISTINA (with difficulty) He made Daniel hire you because he didn’t want his son to be tempted to sleep with his assistants anymore. BETTY Oh. CHRISTINA sorry Betty. Betty shrugs her shoulders, forces a smile. Christina hands her the plastic wrap covered outfit. BETTY Well I guess that explains a lot. CHRISTINA Betty -- BETTY No, okay. You know, I should be grateful, I got my break. It’s not always easy for everyone. I guess this is just how it was supposed to work out with me. {beat) I should get going. CHRISTINA Hang in there okay? And if you need anything... Betty nods, walks out. 40.

41. INT. PHOTO STUDIO - DAY Camera tracks through the bustling photo studio. Stylists, assistants, models all frantically running around. Through the haze of smoke in the background, we can make out some of the set which consists of burnt out, crashed cars. Camera lands on WILHELMINA arriving, Marc in tow. She rips of{ her sunglasses, surveys the scene. Just then, Daniel walks past. DANIEL So what do you think? WILHELMINA Darling, I give you a big, fat (beat) For fabulous. DANIEI, Thank you Wilhelmina. As he keeps walking, we see Wilhelmina turn to Marc, roll her eyes. ANGLE ON DANIEL approaching a pissed off Craig. CRAIG Traffic or hangover? Did anyone read the contract to her? She needs to be here for the test shots. DANIEL What'’s going on? CRAIG Izabela, the Brazilian model -- she’s late. This is a crazy complicated shoot and I need her dressed and ready right now. DANIEL They’'re test shots -- lets just use a stand-in. CRAIG No no, she’s too specific. I need someone with her skin tone. Someone like...

42. He scans the room and his eyes land on...BETTY, just walking in. CRAIG Her. DANIEL Funny. CRAIG (smiling) Bet ya she‘ll quit before she does it. off Daniel, thinking about it... INT. PHOTO STUDIO - DAY Betty is making her way through half-naked, six foot tall beauties when Daniel steps in front of her. DANIEL Betty, I‘m glad here. Listen, we’ve got a crisis and need your help. BETTY Okay. DANIEL One of the models hasn’t shown up. And we need someone to stand in for her... (re: outfit in her hands) In warxdrobe. BETTY (hitting her) You want me to do it? He nods. She pulls the plastic off the outfit...there’'s barely anything there. Betty looks at it. DANIEL Well? Betty looks over at the outfit, the models, then stares at Daniel. It’'s a long, silent stand-off. BETTY This is what you want me to do?

43. DANIEL Yes. A beat. Without saying a word, Betty turns, marches away. The plan appears to have worked. Daniel takes a deep breath, turns around. From the look on his face, it’'s clear he’s not exactly proud of this. INT. PHOTQ STUDIO - DAY Craig is changing a lens. Daniel walks over. DANIEL She quit. CRAIG Good -~ Now who do we use? Suddenly, a HUSH falls over the crowd. Everyone turns to stare at something. ANGLE ON WILHELMINA —- she’s on her cell phone when something catches her attention. WILHELMINA Oh no she didn’t. We now see what everyone is staring at: BETTY, walking toward set in the awful, skin-baring ocutfit. Head high, stoic. Daniel stands there in shock that she went through with it. Betty looks at Craig. BETTY (firmly) Where do you want me? CRAIG (speechless) Um. Right there is fine. He sandwiches her in between a couple of tall, thin, imposing models. CRAIG (to gaffer) I see a shadow -- move that light over to the right thank you. Craig starts taking test shots.

44. Greal. Movement, ladies. That's right. Sexy. More. More. More. You're devouring the camera with your eyes. ANGLE ON BETTY FLASHES retlecting in her glasses. She jumps a little each time, like she’s being shocked. We can hear pcople guffawing, snickering. Her lips start guivering. ON DANIEL -~ this is going too far. He turns to Craig. DANIEL Stop it. CRAIG Wwhy? She’s pretty good. Give me a little more Betty. DANIEL STOP 1IT. The models next to Betty can’t help but burst out laughing. Betty can’t take anymore, storms off, grabbing her bag on the way out. paniel follows her. DANIEL Betty wait -- EXT. PHOTO STUDIO - DAY Betty steps into the street. DANIEL Betty -- BETTY (eyes welled up) This is what you wanted isn’'t it? To humiliate me. To make me gquit. God forbid you had to work with the ugly girl they forced you to hire. Well...congratulations. off Betty, walking away... FADE OUT. END OF ACT_ FOUR

45. ACT FIV EXT. NEW YORK SKYLINE - DUSK An establishing shot of the city fades to... INT. SUBWAY CAR - DUSK Tracking through the elevated, Queens bound 7 train, we find Betty sitting alone, her Guadalajara poncho barely covering the outfit from the photo studio. A LITTLE BOY stares at her. LITTLE BOY (innocently) Are you a stripper? liis mother grabs him, tells him to shut up. Betty looks away, staring sadly at the commuters on their way home from office jobs. INT. BETTY'S HOUSE - NIGHT Betty walks in to find her father sitting in his Lay-Z Boy, leg propped up on a stool, ice pack pressed to his forehead. she rushes over to him. BETTY What happened?!? IGNACIO I'm fine. Hilda appears. HILDA He fell at work. IGNACIO It wasn’t at work. HILDA No, even better. He‘d stepped out to get some coffee so now worker’s comp says they’re not gonna cover anything. Ignacio shrugs his shoulders, looks at Betty. IGNACIO Dios mio, what are you wearing?