CASHMERE MAFIA

by
Kevin Wade

Revised draft 01-05-07

Starred for revisions

Sony Pictures Television

Darren Star Productions
Gail Katz Productions
 ACT ONE
EXT. NEW YORK CITY-EARLY MORNING
Music up, The Pretenders confident anthem Brass in Pocket,
as you soar in on an approaching aerial shot of the iconic
Manhattan skyline, under the following narration, intimate
and conversational:
NARRATOR (VO)
I cant remember who first called
them the Cashmere Mafia, but it
stuck. Never to their faces, of
course. Theyve been friends since
their days at the Columbia School
of Business together...
EXT. PERRY STREET BROWNSTONE-NEW YORK CITY-EARLY MORNING
CAMERA SKIDS to a stop in front of a beautifully restored
brownstone on a block full of them. A driver, Sam, early
50s, gets out of a Mercedes S550 and opens the rear door and
checks his watch as the narration and music continue--
NARRATOR (VO)
Zoe Burdens what they call a
rainmaker...
INT. PERRY STREET BROWNSTONE-NEW YORK CITY-EARLY MORNING
In the Architectural Digest-featured kitchen of their
stunning townhouse, ZOE BURDEN, 38, with wash-and-wear good
looks and the harried good cheer of a can-do Mom, is bidding
her daily sailing-on-the-Titanic good-byes to children SASHA,
8, and LUKE, 5, as husband ERIC, 40, sardonic and lanky, off-
beat good looks, runs interference between syrupy hands and
Mommys Armani suit. Narration continues, overlapping:
NARRATOR (VO) LUKE
...the youngest Managing MOMMY DONT GO! PLEASE DONT
Director for Investment GO!
Banking that Gorham, Sutters
ever had.
SASHA
Shut up Luke!
(to Zoe, pleading)
You promise youll make my recital?
Promise!?
ZOE
Thursday, seven sharp, pinky swear.
And its shut up Luke, please.
Hooks a pinky to Sashas, licks off syrup, spreads each ones
arms and plants a kiss. Shes used to leaving them wanting
more of her, but it still aches a little.
NARRATOR (VO) ZOE
Freelance restoration Ten minutes of TV! Go! I love
architect husband Eric, you!
daughter Sasha, son Luke.
 2.

The kids tear to the couch and start fighting over the remote
and Zoe and Eric book in the other direction, towards the
entry hall and front door.
ERIC
Do we need a Plan B?
ZOE
(irked)
I said Ill make it, Ill make it.
ERIC
Sir, yes sir!
ZOE
Sorry. This associate I brought in
has been nothing but attitude and
excuses. Ive got to pull the
trigger and I hate that.
ERIC
(helpful)
Just think of her as a guy.
ZOE
(piqued)
How do you know its a woman?
ERIC
You tend to get a little soft when
its a sister involved.
ZOE
I mentored her. And Im always
soft.
ERIC
Then give her one more chance.
ZOE
You think?
ERIC
Be the daisy in the barrel of the
gun, today.
ZOE
Sasha has soccer and Luke has a
play date with Jason.
ERIC
Elenas picking up Sasha and Ive
got Luke and Jason.
The kids YELL for her, their running footsteps approach. He
opens the front door, kisses her and eases her outside.
ERIC (CONTD)
Be the daisy.
She makes a clean getaway.
 3.

EXT. PERRY STREET BROWNSTONE-NEW YORK CITY-EARLY MORNING

Zoe puts her briefcase on the roof of the car and holds her
arms out at her sides as if at airport security--
ZOE
They had oatmeal with syrup--
Her driver, Sam, gives her a thorough spots-scan, wet-wipe in *
hand, as she turns around-- *
SAM
All clear. Were late--
She ducks in the car and he shuts the door and runs around
front and jumps in.
The car accelerates off; her briefcase goes THUDDING off the
trunk; the car SQUEALS to a stop, reverses full speed,
SQUEALS to a stop by the briefcase. Zoe opens her door,
plucks the briefcase off the street, and they speed off
again.
NARRATOR (VO)
Then theres Dylan Mason, Associate
Publisher, Barnett-Nash Media
Group...
INT. EQUINOX FITNESS CLUB-EARLY MORNING
PUSH IN ON DYLAN MASON, 37, running full-tilt in a boot-camp
treadmill class. She has the blonde good looks and lithe
athleticism of a golden girl and the competitive drive of an
alpha male. She is wearing a Bluetooth headset and browsing
the New York Times while pounding out her miles. A ring tone
sounds; she checks her phones display and buttons on the
headset.
NARRATOR (VO CONTD) DYLAN
...gets an offer a month from I had the filthiest dream
rival publishers, so far about you last night...
shes turned them all down.
Broke some pretty important
hearts, rumor is shes out of
circulation.
INT. CARRIAGE HOUSE-EAST 75TH STREET-SAME
Her boyfriend RICHARD, 40, heartthrob handsome in an Ivy
League sort of way, is standing in the gorgeous living room
of a restored carriage house off Madison with elegant you-
must-use-Pablo realtor PABLO, mid-thirties.
RICHARD
And I cant wait to hear it, but I
need you to drop what youre doing
and come up to 98 East 75th Street.
Its perfect.
INT. EQUINOX FITNESS CLUB/CARRIAGE HOUSE-SAME
INTERCUT, between the two of them.
 4.

DYLAN RICHARD
Its not perfect if I have to No, for both of us. I think
trek all the way uptown for we should go in on it
sleep-overs. together.
DYLAN
What do you mean?
RICHARD
Dylan, will you move in with me?
In her shock and surprise, she loses her footing and goes
sailing off the treadmill. The other RUNNERS barely bat an
eye. Dylan pops back up and adjusts her headset.
DYLAN
Did I lose you?
EXT. 868 PARK AVE.-DAY
A classic building and a desirable address, limos and
private cars jockeying for pick-ups by the awning.
NARRATOR (VO)
Juliet Draper is the Chief
Operating Officer of Sans Souci
Hotels and Resorts...
INT. JULIETS APARTMENT-MASTER BEDROOM-DAY
High-ceilinged, pre-war, classic. PUSH IN FAST ON JULIET
DRAPER, 39, looking like she just stepped off the cover of
Town and Country; a pro of the old school, mercurial, with
a will of iron neatly concealed by an extroverted feminine
gentility. She is in a bra and panties, holding a dress up
against her and before a full-length mirror. Her husband
DAVIS, 45, WASP good looks kept tanned and fit, is packing a
suitcase.
NARRATOR (VO) JULIET
...grew them into the second What do you think of this for
largest luxury chain behind the benefit Thursday?
the Four Seasons; husband
Davis runs a small fund,
daughter Emilys at Chasen.
DAVIS
(after the slightest
glance)
Perfect.
JULIET
Really?
DAVIS
Really. And besides, you could go
in mom jeans and a Garfield
sweatshirt and youd still be the
classiest woman in the room.
She smiles a little and shakes her head. Then, evenly--
 5.

JULIET
Davis? Close your eyes and describe
the dress?
He shrugs, turns his back to her.
DAVIS
(after a moment,
patiently)
Black, beaded around the cleavage
or whatever you call it. Probably
cost more than my new Porsche. Can
I open them now?
JULIET
No.
She drops the dress and melts up against him, suddenly
yearning in her body language and tone. He returns her kiss, *
succumbing to her arousal. She deftly unbuckles his belt and *
pulls him by the waistband to their bed, urgent, erotic-- *
--and a quick RAP on the door is followed by the entrance of
their daughter EMILY, 14, a knockout with a toxic case of
attitude. At the same time--
JULIET (CONTD) EMILY
AAAAAAHHHHH! Gross!
Emily quickly turns her back as Juliet shrugs on a robe.
EMILY
If youre gonna rekindle the flames
or whatever you could at least lock
the door.
DAVIS
(patient)
What is it, Em?
EMILY
She has to meet me in the
Headmasters office after school
today.
JULIET
Why?
EMILY
If I tell you now Ill just have to
listen to your same crap twice. Im
off--
And she goes, trailing resentment like exhaust. Davis hefts
his suitcase.
DAVIS
Id better get moving, call me if
you need me to talk to her.
JULIET
Just take me with you.
 6.

DAVIS
You hate Hilton Head. And you have
an empire to run.
JULIET
Right. Love you.
Kisses her, gently, and goes.
EXT. CHLOE PARRISH BUILDING-MIDTOWN-MORNING
A ten story Beaux-Arts limestone on Fifth Avenue.
NARRATOR (VO)
And the fourth is Caitlin Dowd,
Senior VP for Marketing and
Development for the cosmetics giant
Chloe Parrish.
INT. CHLOE PARRISH-CAITLINS OFFICE-MORNING
Spacious and homey, with art on the walls and a view of
Central Park; mock-ups for singer/actress/diva SHERRY
MADEIRAs fragrance launch strewn on every surface. Asleep on
the sofa in yesterdays clothes is CAITLIN DOWD, 37, a Boston
Irish Working Girl transformed into a saucily attractive Jil
Sander Suit.
NARRATOR (VO)
In three years she expanded their
brands and took market share by the
boatloads; one degree of separation *
from anyone who matters in
entertainment, fashion and sports.
Single.
Her assistant, PATRICK, African-American, late twenties,
fastidious in dress and manner, knocks-and-enters and rolls
his eyes in surprise.
PATRICK
Wakey, wakey, eggs and bakey!
Youve got an interview scheduled
for three minutes ago!
CAITLIN PATRICK
(stirring) (eyeing her, sardonic)
What the...oh, shoot! Think were gonna need the
(getting up) Army Corps of Engineers.
Help me!
CAITLIN
Shut up.
And, with military precision and lightning speed:
He selects a plastic-wrapped cashmere sweater from a filing
cabinet full of them as she takes off her blouse, tosses it
to her--
 7.

--as she pulls it on, he opens a breakfront drawer and flips

her a hairbrush and a tin of Altoids; she crunches a couple
and whips her hair with the brush--
--hobbles into her heels and puffs a little cologne from a
sample bottle on her desk and gives her appearance a once-
over in the mirror as he opens a bottle of mineral water and
hands it to her and she takes a long pull.
PATRICK
Ill send her in?
CAITLIN
Coffee, too.
He goes out. She strikes a casually confident pose behind her
desk as--
--Patrick returns with ALICIA LAWSON, 37, British, with a
striking physical beauty made all the more appealing by a
disarmingly scattered, unself-conscious air. Men want to be
with her, women want to be like her, and in this moment--
PATRICE
Alicia Lawson, Caitlin Dowd.
CAITLIN
Alicia, thanks so much for
coming...
ALICIA
Oh, my, no, thank you.
--Caitlin is frozen in place somewhere in between the two,
with a look on her face like little valentines were circling
her head to the music of a harp and utterly flummoxed by it.
She rounds her desk, knocking over the litre of water in the
process.
CAITLIN ALICIA
Shoot. Now thats usually my move.
Here...
Both bend down; Alicia picks up the bottle and replaces it on
the desk. Caitlin extends her hand, clearly flustered.
CAITLIN
Please, sit.
They take seats catty-corner from each other by the coffee
table. Caitlins way too aware of her own body language,
fidgeting and utterly distracted. Awkward silence, broken by:
ALICIA
(looking around)
I wish my apartment was as inviting
as your office. This is gorgeous.
 8.

CAITLIN
Thank you. I finally gave up
pretending that I actually lived
anywhere else and just went for it.
So, how do you like New York?
ALICIA
Well, its only been two months
but, to be honest? You never really
feel alone here, but it can get
awfully lonely. Do you know what I
mean?
Caitlin measures her response as if it were the answer to a
life-changing question. And takes too long--
ALICIA (CONTD)
(sheepish)
Im sorry, thats not what you were
asking--
CAITLIN
Yes! Yes it was. I know just what
you mean! And what you need is,
well, you need a job, for starters.
ALICIA
Yes, well, I guess thats why Im
here.
With a dazzling smile. Caitlin can only grin helplessly in
response; you can almost hear the voice in her head going
Get a grip!.
EXT. MAXWELLS RESTAURANT-MIDTOWN-DAY
A classic Manhattan power lunch venue; deceptively casual in
appearance but bubbling daily with an only-in-New-York
trifecta of top-drawer media, financial, sports and
entertainment players. Zoes Mercedes pulls up to the curb,
she steps out and intersects with Caitlin, cheek-kisses as
they head inside.
NARRATOR (VO)
Theyve been coming here since the
week I opened, theyve helped my
staff with everything from green
cards to doctor referrals--
INT. MAXWELLS RESTAURANT-MIDTOWN-DAY
The eponymous MAXWELL MAX BRAUTIGAN, late forties, a
gregarious transplanted-Californian foodie, is huddled at the
bar over the seating chart for his restaurant with new
maitred SEAN, 40, a mini-me of Max. As Max speaks, you
realize hes been our narrator, educating Sean on the
Kremlinology of his clientele.
MAX
--and in my restaurants, they are
first among equals. Lets
introduce...
 9.

FOLLOWING THEM TO a banquette by the window, a prime table,

where two WAITERS are placing water and drinks with military
precision in front of Juliet, Caitlin, Dylan and Zoe.
MAX (CONTD)
Ladies, please meet my new
maitred, this is Sean...
A chorus of cheerful hellos.
SEAN
My pleasure. If theres ever,
anything--
JULIET DYLAN
And there will be-- And well count on you--
CAITLIN ZOE
Wonderful-- Thank you!
Max leads the slightly stunned Sean away--
MAX
(sotto voce)
Youll get used to it.
PUSHING IN ON THE FOUR, huddled with the urgency of a fourth-
and-goal, galvanized and sparkling in their private element.
JULIET
Who wants to go first?
ZOE
Wait, we didnt order--
With a lifted finger, a WAITER appears.
JULIET ZOE
Cobb salad? Salmon.
DYLAN
Cobb.
CAITLIN
Cobb and a Ketel One martini.
Which draws expectant looks as the waiter moves off.
CAITLIN (CONTD)
I need the drink first. Someone
else go.
Enough said. Dylan jumps in--
DYLAN
Richard asked me to move in with
him.
ZOE CAITLIN
Youre kidding!? About time!
 10.

DYLAN (CONTD)
He saw this place he loves on the
East Side but I want to look at
lofts, too.
ZOE
Youre like, going Dutch?
DYLAN
Yeah. We can afford so much more if
we go in it together.
JULIET
Any ring in sight?
DYLAN
(defensive)
No. With all due respect to you and
Zoe and wedded bliss, Richard and I
both know too many people who are
miserable because of the ring.
JULIET
You might want to work up some kind
of real-estate pre-nup, just the
same.
Dylans look drops the subject, Zoe picks up the ball.
ZOE
Help me out here. Kate Baron: top
of her class at Wharton, I brought
her in, used some sharp elbows to
get her a desk as an analyst under
my team. Turns out shes like
poster girl for Generation ID.
JULIET DYLAN
ID? Whats that?
ZOE (CONTD)
I Deserve. If she thinks
somethings beneath her, forget it.
And with a ton of attitude.
DYLAN
And if she were a Ken Baron, shes
already gone.
ZOE
Yes. Do I be the daisy in the
barrel of the gun or do I give her
up to the pricks upstairs?
JULIET
You dangle her out the 40th floor
window, then give her one more
chance. If I know you youve been
too easy on her, which makes you
partly responsible.
 11.

This lands on Zoe, who nods. CILLA GREY, 34 and tracking on

the bombshell side in the style scale of this tribe, stops by
their table as the Waiter places Caitlins martini and she
takes a quick slug and like, finally exhales--
CILLA
Hi you all--
A chorus of Hi Cillas in reply--
CILLA (CONTD)
Im sorry to interrupt but Ive got
a tiny little favor to ask?
Caitlin, youre in 77 Central Park
West, arent you?
CAITLIN
Yes, I am.
CILLA
Ive got an accepted bid for the
Bennett penthouse and Im out of my
old place and living at the Mercer
and I know its a lock but could
you possibly put in a word with the
board for me?
CAITLIN
Im on the board. Ill see if I can
move them along at least?
CILLA
Thank you so much. Great to see you
all...
Cilla waltzing off--
ZOE
What do we know about her?
JULIET DYLAN
Used to be a producer at CNN, Writes those exotic travel
Ron Arbogasts third wife, pieces for The Times
she backed up the truck-- Magazine, big dinner-partner
get in the Hamptons and D.C.
They turn, as one, to Caitlin, expectantly.
JULIET ZOE
Okay, youve barely said a Whats with the martini at
word-- lunch?
Caitlin like, scans the horizon and leans in, drawing them
closer.
CAITLIN
(after a moment)
I met someone this morning and I
got all dizzy and flushed and no, I
did not accidentally double my
Wellbutrin. This never happened to
me before.
(MORE)
 12.
CAITLIN (CONT'D)
It was like someone waved a wand
and the sun came out and my libido
made a surprise guest appearance
and I wanted to book a week in
Paris right then and there.
ZOE
So give us a little smile here.
Whos the guy?
CAITLIN
Theres a catch.
(a beat, then, opting for
half the story)
Its someone Im thinking of hiring
as a VP, under me. Coming back for
a second interview this afternoon.
The company has a pretty strict
policy about office romances.
DYLAN
Oh, dont sweat it. Its not that
hard to stay under the radar with
an office thing. Richard and I have
been doing it for over a year.
JULIET
Theres no job in the world worth
living alone for. Hire him.
ZOE
What you just described comes along
--well, you know how seldom better
than anybody. Go for it.
Caitlin drains the rest of her martini. Juliet moves on--
JULIET
I know you all bought tables for
the benefit Thursday night but I
would really, really appreciate it
if you were actually there.
CAITLIN DYLAN
Im trying. Im probable.
ZOE
Sashas dance recital is Thursday *
at seven and I cant miss it but *
Ill try to at least peek in. *
JULIET
Listen, enjoy it while you can.
Emily officially hates me.
ZOE
Of course she doesnt.
JULIET
You should hear the way she...
(a moment, then--)
How did we treat our mothers when *
we were fourteen? *
 13.

They look from one to the other, none having a comforting

anecdote for Juliets battles with Emily.
ZOE
Our mothers were there to tuck us
in bed every night and if they ever
went away without us it was to have
one of our siblings. But we never
wanted to be our mothers.
All absorb this, for a moment. Juliet tips her glass in a
rueful salute.
JULIET
To progress.
Plates are set in front of them. Caitlin checks her watch,
signals the waiter--
CAITLIN
Ill take the check, too. Im
crammed today--
WAITER
Its with Ms. Grey. As is dessert.
Another WAITER sets out a a huge, elaborate, deathly-rich
confection.
CAITLIN
(under her breath)
Isnt that a little passive-
aggressive.
All four wave and smile at Cilla, across the room, who smiles
and wiggles fingers in reply.
EXT. GORHAM, SUTTER-DAY
An iconic logo over the entrance to a modern Sixth Avenue
tower.
INT. GORHAM, SUTTER-ZOES OFFICE-DAY
Zoe in her office, with a high-up view of midtown and a
couple dozen family photographs offsetting the spartan
atmosphere; scores of IPO tombstones form a victory parade on
the walls.
She has KATE BARON, 27, a coltish beauty with a thick air of
entitlement and a chip on her shoulder the size of a Buick,
posed insolently in front of the desk.
ZOE
(patiently)
Help me out here, will you Kate? I
feel like when youre motivated,
youre great, but God forbid youre
not--
(brandishing a file)
--this is like Xeroxing their
annual report!
(MORE)
 14.
ZOE (CONT'D)
I mean, come on--is it really so
beneath you to come up with an
original thought for me?
KATE
(chafing)
Okay, Im sorry--
ZOE
And for the millionth time, sorry
is not a word we use in this
building.
KATE
Why are you so hard on me!?
ZOE
Im not hard on you! If I single
you out its because I thought I
saw potential in you.
Kates anger breaks through, loud and clear.
KATE
Yes I have potential! But how am I
supposed to reach it when youre
breathing down my neck and just,
just second-guessing every move I
make!?
ZOE
Show some effort and I wont have
to!
KATE
Perfectionism isnt a virtue, you
know. Its more like a neurosis.
Zoe back on her heels for the briefest moment; no one under
her talks to her like this.
ZOE KATE
(a moment, then--) (scrambling)
Thats all, Kate. I didnt mean it like--
ZOE
(final)
I said thats all.
Kate goes. Zoe picks up her phone and buttons an extension,
resolute--
ZOE (CONTD)
(into phone)
I need to talk to Clayton the
moment hes back.
EXT. CHASEN SCHOOL-DAY
A venerable private school on the Upper East Side.
 15.

INT. CHASEN SCHOOL-HEADMASTERS OFFICE-DAY

CLOSE ON A COMPUTER MONITOR, displaying Emilys Facebook
page, with a border of photographs of her in provocative,
half-undressed poses. PULLING BACK TO REVEAL Emily, Juliet
and DR. PETER CLIFTON, 45, the goateed, tweedy Headmaster,
seated in a tense tableau.
DR. CLIFTON
Freedom, yes, but within the
appropriate boundaries.
EMILY
(sullen)
I like the way I look in those
pictures.
JULIET
(final)
Thank you so much, Peter. Well
take it from here.
She holds out a hand to Emily, who just walks by her to the
door.
INT. CHASEN SCHOOL-CORRIDOR-DAY
Juliet and Emily in the empty hallway, facing off.
JULIET
--then Ill just let your father
handle this.
EMILY
Hes not gonna handle anything,
and you know it. Cause I say the
things to you that he wants to say
buts afraid to.
She bolts for the stairs, slips in her haste, bangs her bare
shin on a sharp marble step and crumples, cursing. Juliet,
instinctively, goes right to her.
JULIET
(empathetic)
Ow.
She sits down on the steps beside Emily, who whimpers in
pain. Juliet hugs her and for the briefest moment they are
mother and child again.
EMILY JULIET
Im such a klutz-- That must hurt--
EMILY JULIET
Im okay, Mom-- Let me just look at it?
EMILY
--Please? Just leave me alone?
 16.

She goes hobbling up the stairs. Juliet gets to her feet,

braces herself on the banister, takes a quick look around to
make certain that she is alone, and crumples a little as a
sob wells up in her throat and tears spring into her eyes. A
rare, uncontrolled emotional moment for her.
Dr. Clifton sticks his head out the door, concerned. Juliet
waves, covering--
JULIET
(brightly)
Allergies!
INT. GORHAM, SUTTER-CLAYTON PIERCES OFFICE-DAY
Zoe takes a seat in the sleek Master-of-the-Universe office
of her superior, Managing Partner CLAYTON PIERCE, 47, St.
Pauls-to-Harvard-to-Wall Street, a bull in a bespoke suit. A
gallery of autographed Fender Stratocasters (Springsteen, The
Edge, Keith Richards, etc.,) are hung on the wall; fun
little trophies of big fuck-you money.
ZOE
How are Jane and the kids?
CLAYTON
Good, thanks. So whats on your
mind?
ZOE
Do you remember Kate Baron? I
pushed for an associates desk for
her?
CLAYTON
Yeah. I heard you two were grinding
gears.
ZOE
(surprised)
You heard? Where?
CLAYTON
Well, from Kate, to be honest.
Zoe, off-guard. She flinches, recovers.
ZOE
Wait a minute? Since when does a
Kate Baron go to a Managing Partner
about a conflict with a...
She breaks off, as the nickel drops.
ZOE (CONTD)
Ah. When shes sleeping with him.
Hes like a brick wall, leaning back in his chair, unfazed.
CLAYTON
No, were not. Just let that go.
 17.

ZOE
Clay--
CLAYTON
The point is, Zoe, shes being
wasted where she is. She needs a
bigger challenge to really flourish
here.
ZOE
She couldnt even handle--
CLAYTON
I want you to sprinkle some of that
Zoe dust on her. Im moving her up
as your second for the AbleTech
road show.
ZOE
Youre kidding me.
CLAYTON
(final)
And as a friend? The partners dont
just look at your numbers. We also
notice who takes one for the team
now and again.
A beat, eye to eye. Zoe bites her tongue.
ZOE
Got it.
CLAYTON
(smiles)
Then our work here is done.
Picks up his phone and turns to his monitors.
EXT. BARNET-NASH BUILDING-DAY
A 1930s Art Deco office building in the East Thirties.
INT. BARNET-NASH BUILDING-EXECUTIVE FLOOR-DAY
FOLLOWING DYLAN, walking out of her perimeter office and
tossing greetings as she hurries past the warren of cubicles
that predominate the floor. She notices Richard, on the other
side of the floor, headed in the same direction.
They intersect at the elevator. Both reach for the up
button.
DYLAN
Where are you going?
RICHARD
Hughess office.
DYLAN
So am I.
 18.

They lob alarmed looks.

RICHARD
I guess were found out?
DYLAN
If we are, you dont need to worry.
Its always the woman who gets the
boot.
She steels herself as the elevator arrives. He reaches out
and squeezes her hand.
INT. BARNET-NASH BUILDING-CLIVE HUGHES OFFICE-DAY
Richard and Dylan are seated across from CLIVE HUGHES, late
forties, a florid, energetic Australian.
HUGHES
Straight up? The home office in
Melbournes called for one of you
to be raised up to U.S. Group
Publisher.
RICHARD
And the other?
HUGHES
Well, the other would be made
redundant.
Both of them tense, focused on Hughes.
DYLAN
(lightly)
Do we draw straws?
HUGHES
(snorts a laugh)
Ive vetted both of you til I was
cross-eyed and I still cant
decide. So were going to play
Survivor: East 38th Street.
Youve got Peter Johnson from
Daimler-Chrysler in town this week.
Whoever closes the biggest block of
his ad buy, stays; the other ones
off the island.
Dylan and Richard glance at one another; sure as hell didnt
see this coming.

END OF ACT ONE

 19.

ACT TWO
INT. BARNET-NASH BUILDING-CORRIDOR-DAY
MOMENTS LATER, FOLLOWING DYLAN AND RICHARD, walking to the
elevator; hes dour, shes galvanized, trying to hide it but
clearly getting a charge, competitive and sexual, out of the
challenge. The Raconteurs Steady As She Goes surges up on
the soundtrack--
RICHARD
(angrily)
We shouldnt give him the
satisfaction--
DYLAN
What choice do we have?
RICHARD
Youve had offers, good ones. You
were this close to going over to
Conde Nast--
DYLAN
Theres a reason Im still here.
None of those other firms is going
to open up the publishers job for
years...
RICHARD
So you want to play his game?
DYLAN
Its not a matter of want; it is
what it is. Is this going to be a
problem for us?
RICHARD
(defensive)
Not for me.
DYLAN
I mean, youd be pissed if I tanked
a squash game or backed off on a
black diamond with you--
RICHARD
Im not worried about me, Dylan.
The elevator doors open and they get on.
DYLAN
(breathless)
Cmere--
She braces him against the wall with her lips and (whatever
network standards allow as urgent elevator sex) as the doors
ding closed and the chorus to the song kicks in.
 20.

INT. GORHAM, SUTTER-CONFERENCE ROOM-DAY

Zoe commanding the head of a table about the size of a
football field; 28 MEN IN SUITS and two other WOMEN SUITS
with their eyes fixed on her.
ZOE
...and I disagree. If you look
three-sixty around this deal, were
still stronger at the lower price
per share because of our cash
leverage. I think we should stand.
Her BlackBerry vibrates on the table. She flips it open and
checks the display--
ZOE (CONTD)
Excuse me a second?
(into phone, getting up)
Is everything okay?
EXT. FRIENDS MEETING HOUSE SCHOOL-DAY
A Greenwich Village Pre-K through 8. Find Eric, the lone male
among the gathering MOMS waiting for their children, as Luke
comes running up--
ERIC
(into phone, oblivious)
Luke got a reading star, Ill put
him on--
Hands off the phone to Luke--
LUKE
(into phone)
MOM!?
SPLIT SCREEN-CONFERENCE ROOM/FRIENDS SCHOOL-CONTINUOUS
Zoe giving just a second and one more second semaphores
to the assembled, juggling between her two roles, as Luke
chatters away--
LUKE ZOE
I got a reading star! And Mommys in a meeting honey,
guess what else!? so quickly, what else--
LUKE ZOE
No, you have to guess! Luke, Mommys real busy right
now--
LUKE ZOE
I lost a tooth at lunch. Be sure you give it to Daddy
for the Tooth Fairy. And put
Daddy on?
VICTORIA KEENER, mid-thirties, cute and sexy in her sprayed-
on yoga togs, moves up beside him. Her son Jason, also 5,
wraps his arms around her legs.
 21.

VICTORIA
Nice day to take them to the park.
Want to?
LUKE
Dad? Mom wants to talk to you...
He hands Eric the phone.
ERIC
Were off to the park, Ill call
you later.
And snaps the phone shut. The four of them move off together--
--as Zoe turns back to her meeting with determined bravado--
ZOE
Okay then! Back on track!
EXT. PARK-DAY
Luke and play-date Jason on the monkey bars; Eric and
Victoria stretched out in the grass nearby.
VICTORIA
Jason! Careful not to kick!
She rolls over closer to Eric, eyes him inquisitively.
VICTORIA (CONTD)
I bet our lives are a lot alike in
some ways.
ERIC
Like how?
VICTORIA
Well, were both married to Type-As
who end up running on empty by the
time they get home, no?
ERIC
Your husbands a...
VICTORIA
Director of South American Emerging
Markets, Smith Barney. Eighty-hour
weeks and a chronic case of jet-
lag. We get to it twice a month if
were lucky.
ERIC
Youre talking about getting to the
theatre, right?
She kicks him, playful.
 22.

VICTORIA
No, Im not talking about the
theatre. I bet you can be
absolutely infuriating.
ERIC
Why?
VICTORIA
This whole ironic-distance thing
youve got going on. Its very sort
of charming but it makes you so
hard to read.
ERIC
Yeah, its a cry for help.
VICTORIA
See?
She shifts a little closer.
VICTORIA (CONTD)
Okay, here goes. The only safe
affair is between two people who
are married with young kids and
committed to staying in those
marriages. Nobodys going to fall
in love; everybody just has a good
time and goes home.
ERIC
Like, friends with benefits.
VICTORIA
Like that, yes. And please dont
make a joke.
He meets her gaze, unflinching, and smiles, genuine.
ERIC
I wont. And if Im understanding
you correctly, Im very flattered.
But heres the thing? I dont get
nearly enough sex at home, either.
But where Im kind of twisted? It
means it never gets stale, it means
Im in a kind of perpetual state of
wanting her.
She smiles and nods, not so much in concession as in taking
up a gauntlet. A JINGLING MELODY sounds, off.
VICTORIA
Shes luckier than she knows.
LUKE (OS)
Dad!? The ice cream truck!?
He gets to his feet.
 23.

EXT. TENTH AVENUE-MOVING-DAY

A white Jaguar XJ8 weaving in traffic and pulling up in front
of a soundstage building. You hear Caitlin, over:
CAITLIN (VO)
...its not unlike what you were
doing at Sony Music. Two-thirds of
the job is launching new product,
one-thirds supporting the existing
brands.
Caitlin gets out the back, offers a hand to Alicia, who takes
it. They head to the entrance--
INT. SOUNDSTAGE-DAY
Pinks U + UR Hand BOOMING, CAMERA TRACKING PAST a
commercial film CREW lingering on hold around a set; Diva
SHERRY MADEIRA, late 20s, a provocative bombshell, is in an
enormous tilted fantasy of a bed with two young male MODELS
in briefs, a Nordic God and a Latin Heartthrob. She shares
her bottle of Crystal, pouring it into their mouths and
giggling.
PUSH IN ON a huddle taking place just off the set. Caitlin,
Alicia and agency account rep RON, 40, are faced off against
three of Sherrys management team, a united front of tough
WOMEN headed by ELLEN GOLDMAN-TURNER, late thirties, extra-
large.
RON
Ellen, there isnt a network in the
country thats going to air this
with two men in the bed.
ELLEN
We were promised artistic freedom,
Ron. And the whole damn point of
the damn fragrance is that like
Sherry herself, youll never sleep
alone.
RON
(final)
One guy, not two. Caitlin, could
you--
ALICIA
Caitlin?
She moves her aside and leans in close.
ALICIA (CONTD)
If you shoot it both ways and
stick the two-guys one up on
YouTube as too hot for TV, you
might see it go viral to a million
eyeballs without having to buy a
single minute of time.
Eye to eye, for a moment. Caitlin smiles, clearly impressed.
 24.

CAITLIN
(over her shoulder)
Shoot it both ways.
(to Alicia, charged)
When can you start?
ALICIA
Now?
CAITLIN
Ill call Human Resources and have
them put a package together...
Alicia takes Caitlins hands in hers and kisses her on both
cheeks. Caitlins breath catches--
ALICIA
This is just...thank you!
Her phone ringtone is a jazzy Greensleeves. She pulls it
out, checks the display--
ALICIA (CONTD)
Talk about timing--
(buttons it on)
Hello my darling! I have the most
fantastic news!
She steps away as Ellen takes Caitlins elbow and gestures to *
the male models on the set-- *
ELLEN
(lascivious)
What I wouldnt give to be the meat
in that sandwich, huh?
OUT ON CAITLIN, glancing at Alicia, deflated. *
EXT. DINER-11TH AVENUE-DAWN
Escalades and livery limousines idling out front of a hip-
this-minute diner at dawn.
INT. DINER-EARLY MORNING
Weaving through the motley nightlife CREW and finding Dylan
at a booth with a cup of coffee and her cell phone to her
ear.
DYLAN
(into phone, urgently)
Zoe its me I need unbelievable
seats to the Rangers game tonight
will you check your companys box
as soon as you get this?
She buttons it off as PETER JOHNSON, 45, Daimler-Chrysler
marketing honcho and listing a bit after this long night,
slides into the booth, opposite her, as a WAITRESS delivers
waffles and bacon.
 25.

PETER
Cant remember the last time I had
breakfast before I went to bed.
DYLAN
Well, I hope you remember this
time.
PETER
The look on that guys face when I
laid down the straight flush? Never
gonna forget that.
DYLAN
One minute of business? Our
research shows that women still
find shopping for a new car
intimidating, yet they drive the
market for a huge segment of your
product line--
PETER
Youre not going to let me sleep
until I give you the buy, are you.
DYLAN
Ill messenger over a proposed
schedule ladder this afternoon, and
if youre up for it Detroits
playing the Rangers tonight and
Ive got a box right on the glass.
He gives her a look-over with a lopsided smile and heavy
lids; appreciative bordering on horny.
PETER
It really is a pleasure doing
business with you.
She grins and signals for a check.
INT. BARNET-NASH BUILDING-DYLANS OFFICE-DAY
PUSHING IN ON DYLAN fast asleep on the couch. Commotion,
outside.
ASSISTANT (OS)
Shes not to be disturbed--
RICHARD (OS)
This wont take a second--
He steps in and shuts the door behind him, livid. She stirs--
RICHARD (CONTD)
Low blow!
DYLAN
(groggy)
What?
 26.

RICHARD
You knew I had Johnson for a round
at Winged Foot this morning. And
now hes postponed. You screwed me.
DYLAN
I didnt do a damn thing to you.
RICHARD
He said you kept him out all night!
DYLAN
More like he kept me--
RICHARD
Howd you work him, Dylan? Did you
do that thing you do?
Shes on her feet like a shot with a look that could stop a
clock.
DYLAN
(stung)
Richard, what the hell!? You take
that back right now!
RICHARD
Right now youre exactly what I
hate about working with women.
DYLAN
Whats that supposed to mean?
RICHARD
You make like youre playing by the
rules but push comes to shove out
come the little looks and the sexy
signals and its demeaning to
everybody.
DYLAN RICHARD
Why dont you go back in your You torpedoed your colleague.
cave and maybe Ill see you At least be accountable.
later.
DYLAN
Were not exactly colleagues right
now! Remember?
A stand-off, for a moment, staring each other down.
RICHARD
Right. Ill see you later.
He goes. She sits back down, wrung out.
EXT. ZOES MERCEDES-MOVING-DAY
Lurching in traffic on Canal Street.
 27.

ZOE (OS)
Manuel, lets cut up Mercer to
Houston?
Pulls a quick illegal turn--
INT. ZOES MERCEDES-MOVING-DAY
Zoe in the back seat with Kate, both with notebook computers
open in their laps.
KATE
Heres the restated 06 earnings.
She angles her screen to Zoe, who waves it off.
ZOE KATE
Just fold it into the Zoe, this wasnt my idea,
overview, please. either.
ZOE
No ones blaming you, Kate.
She breaks off, as something out the window catches her eye--
ANOTHER ANGLE-ZOES POV
Exiting the Mercer Hotel, Cilla Grey and Juliets husband
Davis. He hails a cab, she takes his arm and stands on tiptoe
to whisper in his ear.
ZOE (OS) (CONTD)
(urgently)
Manuel? Pull over a sec?
The car stops. You get a clear view of them, ten yards away.
Davis breaks into a sly grin and then pulls her to him and
kisses her deeply. He opens the cab door for her and she gets
in as he leans down to the window and says something we cant
hear and touches his fingers to his lips in farewell and
heads back inside.
INT. ZOES MERCEDES-DAY
CLOSE ON ZOE. You could knock her over with a feather.
KATE
Are you okay?
She just grimaces and shakes her head, as if already figuring
her choices and their ramifications and not liking any of
them.

END OF ACT TWO

 28.

ACT THREE
EXT. ST. REGIS HOTEL-TWILIGHT
Establishing. Toby Lightmans Dont Wake Me on the
soundtrack.
INT. ST. REGIS HOTEL-KING COLE BAR-NIGHT
Music continues. CAMERA CIRCLING Zoe, Dylan and Caitlin at a
prime table under the iconic mural. They are armed with
martinis and huddled in urgent conference.
ZOE
...and then she went off in the cab
and he went back inside.
DYLAN CAITLIN
She said she was living at Yeah, while she waits to
the Mercer, right? close on the apartment.
DYLAN
(to Zoe)
Youre positive it was Davis.
ZOE CAITLIN
Positive. I saw them, too.

DYLAN ZOE
When? Yesterday?
CAITLIN
No. Actually I cant say it was
her, but I saw him at LaGuardia
with a tall blonde, about a month
ago.
ZOE DYLAN
Why didnt you say something? Why didnt you tell us?
CAITLIN (CONTD)
(defensive)
It was from across the concourse
and...I dont know.
(to Zoe)
You and Juliet are both so
reverent about your perfect
marriages, who am I to stick a pin
in it?
ZOE
I am not!
DYLAN
Well, you less so, but...
CAITLIN
And its not like I took pictures
or something. I didnt have proof.
 29.

ZOE
(irked)
You know what? Screw you! Ive
always been completely open about
how hard it is. Thats just not
fair--
DYLAN ZOE
Okay, easy, nobody meant-- Yes she did!
CAITLIN
(apologetic)
Youre right, I shouldnt have
lumped you together. Truth be told,
Im probably jealous in some I-want-
to-be-in-that-Christmas-card-photo
kind of way.
Dylan cracks up. Zoe cracks a smile and flips her olive at
Caitlin. A moment, then--
DYLAN
(to Zoe)
But would you want to know?
Glances from one to the other; the elephant in the room.
ZOE
Yes. If it was Eric and you guys
knew but didnt tell me and then I
found out? Id kill you.
DYLAN
Why?
ZOE
Because you let me hang out there
and look pathetic.
CAITLIN
The embarrassing toilet-paper-on-
your-heel theory.
ZOE
Its not just that. If we know,
what right do we have to withhold
the information from the very
person to whom it matters most?
DYLAN
Unless she was never meant to find
out.
ZOE
What do you mean?
DYLAN
Theres always a version where the
affairs never discovered, no one
gets hurt, no ones the wiser. We
could be playing God here, and
badly.
 30.

CAITLIN
Does the spinster get a vote?
ZOE
Stop that. And Of course you do.
CAITLIN
This isnt about us, its about our
friend. Who weve known for fifteen
years now. Who is controlling,
proud, and who hates surprises.
So...you two be Juliet for a
moment.
(looking from one to the
other--)
So, Juliet. If Davis was dipping
his wick in Cilla Grey, would you
want to know?
ZOE DYLAN
Dipping his wick? Of course I would.
They all drain the last of their martinis.
ZOE
Well, how are we going to do this?
DYLAN
Whats your tomorrows like?
All three take out their BlackBerries and start scrolling.
CAITLIN
Im back-to-back until five,
including lunch--
ZOE
Im on a plane to Atlanta at three,
not back until Thursday at four and
Ive got Sashas recital at seven
that night. Maybe you two could--
DYLAN
No, it should definitely be all
three of us.
CAITLIN
What about before the benefit, at
her apartment.
ZOE
What if Davis is there?
CAITLIN
Ill call first. If he is, well
take her for coffee downstairs.
Say, five?
DYLAN ZOE
I can do that. Ill make it work.
Agreed.
 31.

EXT. ROMAN CATHOLIC CHURCH-UPPER WEST SIDE-NIGHT

Caitlins Jaguar is idling at the curb, the driver, JIMMY,
late 20s, outside smoking a cigarette.
CAITLIN (VO)
Forgive me father for I have sinned
its been whatever since my last
confession and these are my sins.
INT. CATHOLIC CHURCH-CONFESSIONAL-EVENING
Caitlin kneeling by the screen.
CAITLIN
Pride, schadenfreude, and heres a
hypothetical. Theres a person
whos come to work for me who I
have some strong feelings for but
if its like, not mutual? Then this
person becomes a huge distraction
and Id have to find an excuse to
fire them even though theyve done
nothing wrong. What sin am I
looking at?
FATHER DAN
I think thats more of an ethical
question.
CAITLIN
And I think my hundred thousand
dollar donation should buy me a
sin-or-no-sin answer.
A sigh, from behind the screen. The creak of a door opening--
ANOTHER ANGLE-OUTSIDE THE CONFESSIONAL
FATHER DAN, 40, long-haired and Black Irish handsome, opens
the door and extends a hand to Caitlin. They hug, he puts an
arm around her and walk her towards the church door--
FATHER DAN
I dont think youre in any danger
of sinning here. The only danger
youre in is of ending up like
Aunt Ruth because you werent brave
enough to put yourself out there
and sure enough of Gods love to
know that you deserve to be loved
yourself, for who you are.
CAITLIN
Thanks, Dan.
FATHER DAN
By the way, is she cute?
CAITLIN
Whats with the shot in the dark?
 32.

FATHER DAN
(gently)
Caitlin, Im your brother, I want
whats best for you. Youve been
dating for twenty years, and at
some point its okay to admit that
its not about meeting the right
guy anymore; just the right person.
CAITLIN
(a moment, then--)
Its a little scary.
FATHER DAN
Change always is.
He gives her a strong hug and a kiss on the cheek.
EXT. SANS SOUCI CORPORATE HQ-MIDTOWN-DAY
Flags of a dozen nations hanging over the atrium entrance.
INT. CONFERENCE ROOM-DAY
Juliet is flanked by Operations Vice-Presidents JEFF LAWTON
and TIM IRWIN, both a few years older than her, and across a
table from two impressive Panamanian developers, SENOR LOPEZ
and SENOR BRICENO. The table is strewn with land surveys and
photographs of Caribbean beach front; they are wrapping up.
SENOR LOPEZ
(in perfect English, to
Jeff and Tim)
...and we hope that a visit to our
site might be the logical next
step?
Senor Briceno edges his coffee cup towards Juliet and
gestures towards the carafe down the table. She takes a *
moment, then fetches the carafe and pours them each a cup, *
during the following: *
JULIET
Gentlemen, with all due respect to
our cultural differences, Ill
remind you that I am the COO of
this company and the ranking
executive in this meeting. If
theres a next step, Id appreciate
it if youd address your proposals
to me as well as to my colleagues,
and to get your coffee refills for
yourselves.
(then, brightly) *
Cream or sugar? *
She heads for the door, leaving them stunned and speechless.
 33.

INT. SANS SOUCI HQ-CORRIDOR-DAY

Juliet walking down the hall with a little smile of pride and
triumph breaking out. Jeff and Tim catch up to her and fall
into stride.
JULIET
(to Jeff and Tim)
Plus they were fudging about the
beach. I checked with our
engineers, and that whole part of
the peninsula gets covered in
seaweed six months a year...
They peel off as she stops by her assistant, JACOB, late
twenties, murmuring into his headset--
JULIET (CONTD)
Davis call back?
He shakes his head, no. She heads into her office--
INT. JULIETS OFFICE-DAY
Done up in a slightly muted version of her apartment, English-
country cozy. She picks up her phone and hits a speed dial
button. Davis voice mail message, heard faintly, as she
adjusts a framed photograph of the two of them, front and
center on her desk.
JULIET
(into phone)
Hi, its me again. Listen, the
company jets dead-heading down to
Miami and I though maybe Id do
something totally uncharacteristic
and have them drop me in Hilton *
Head and meet you for dinner and *
some hotel sex and Id fly back up
with you tomorrow? Emilys already
set to sleep over at Amandas,
so...
(checks her watch)
This offer good until four oclock.
Call me. Big kiss.
The whine of a jet engine and Linda Ronstadts charged cover
of Girls Talk surge up on the soundtrack.
EXT. TETERBORO AIRPORT-DAY
Music continues as Zoe and Kate exit her car on the tarmac,
hand off their suitcases to the waiting STEWARD and board a
Gulfstream V.
ZOE
(into cell phone)
Sasha, Ill be at your recital I
promise double pinky swear now
start your homework and put Daddy
on...
 34.

INT. GULFSTREAM-FLYING-DAY
Music continues. Zoe and Kate are seated as far apart as
possible in the intimate cabin, Zoe on the phone and Kates
gaze going from laptop to Zoe and back, as if waiting to be
noticed. Zoe ends her phone call and opens her laptop; Kate
closes her laptop and summons courage and walks up to Zoes
seat. Music ends.
KATE
I know we dont use the word
sorry, so I wont. I just really,
really admire you and I cant tell
you how grateful and honored I am
to be in your such good hands.
ZOE
Well, thank you, Kate.
KATE
And Im going to knock your socks
off, starting with the meeting
tomorrow morning.
ZOE
Where you will use last names only,
go easy on the eye contact, and
keep your mouth shut after the
small talk is over.
Kate nods, takes it like a good soldier, gestures to Zoes
laptop.
KATE
Do you have any pictures of your
kids?
Zoe hesitates a moment, clicks a folder open and offers the
screen. Kate takes the seat opposite her.
ZOE
Thats Sasha, shes eight, and
Luke, five.
KATE
God, theyre gorgeous.
ZOE
Thank you.
Closes it up.
KATE
Whats your secret?
ZOE
I dont have one.
KATE
Come on. Youre the youngest
Managing Director Gorhams ever
had, and youre a woman, and a Mom?
 35.

ZOE
There is no secret, Kate. Profit
doesnt care if you have kids or
cats, a penis or a vagina, where
you went to school or who youre
sleeping with. Profit only cares if
youve got the hot hand, and
through hard work and some luck
mines been hot more often than
not.
KATE
Wow.
Zoe picks up the phone again and opens her laptop.
ZOE
Youre going to have to excuse
me...
KATE
Thank you so much for taking the
time.
(getting up--)
ZOE
(casual)
And Kate, a word to the wise? Be
careful of office romances,
especially with the married ones.
Eyes like lasers, watching her reaction. Which is startled,
though she tries to hide it.
KATE
I dont have anything going on...
ZOE
For future reference then? At some
point it will end and you will
become an inconvenience. And if you
try to sue when they trump up a due
cause for firing you, they will
bury you under lawyers and youll
end up with cab fare and youll be
blacklisted at every firm youd
ever want to work for.
KATE
(evenly)
Thanks, but its not my style.
She gets up, trips, rights herself, and starts back to her
seat, clearly flustered. Zoe smiles a little.
EXT. CAITLINS OFFICE-DAY
Caitlin leaning over Patricks shoulder and going over her
schedule on the monitor.
 36.

CAITLIN
...then see if you can move the
European sales meeting to four-
thirty...
(noticing--)
ANOTHER ANGLE-CAITLINS POV
A strikingly handsome MAN with a stunning armful of flowers
on the opposite side of the floor, seen over the tops of the
cubicles, as an ASSISTANT points out a door to him and he
walks a little further and knocks and opens it and Alicia
steps into view and takes the flowers and wraps her arms
around him.
PATRICK (OS)
Itd mean starting market research
no earlier than seven.
BACK TO SCENE
Caitlin, resigned. Story of my life.
CAITLIN
Thats okay, Im not going
anywhere.
EXT. CARRIAGE HOUSE-EAST 75TH STREET-EVENING
Richard hurrying up the sidewalk, clearly late.
INT. CARRIAGE HOUSE-BEDROOM-EVENING
Ten foot ceilings, original moldings, a fireplace. Dylan and
Richard are standing a little apart at the large picture
window overlooking the block of gardens below, soft green in
the waning light.
DYLAN
Ive never had a fireplace in the
bedroom.
RICHARD
Gardens out the window. Could you
see us here?
DYLAN
Id be happy wherever youd be
happy.
She reaches out, a little tentative, takes his hand.
RICHARD
What if I told you I put in a bid
for that loft you loved on
Greenwich?
Her ecstatic reaction leaving no doubt as to her real wish.
DYLAN
You did!? YOU DID!?
 37.

She climbs into his arms. He holds back, just a little.

RICHARD
We really, really need something to
look forward to beyond Friday.
DYLAN
I do love you, you know.
She kisses him, hungrily. He succumbs.
INT. JULIETS APARTMENT-MASTER BEDROOM-NIGHT
Juliet still dressed, laying on the bed with a large drink in
her hand watching a video of a long-ago family vacation at
the beach, Davis clowning, Emily about five in a Little
Mermaid bathing suit and coming in close and squinting into
the camera -- I love you, Mommy.--Davis joining her--I
love you too, Mommy. Juliet freezes the frame, takes a sip
of her drink, and picks up her phone as if willing it to ring
and then tosses it aside.
INT. HOTEL ROOM-ATLANTA, GA.-NIGHT
A business-chain room like a million others. Zoe is on the
bed in a robe, a vodka in hand, her computer open in her lap.
ZOE
Good night, Luke. I love you.
ANOTHER ANGLE - FULL-SCREEN LAPTOP SCREEN
Via wi-fi and web-cam, Luke presses his lips to the lens on
his end and gives her a remote kiss good night. He moves off,
Eric takes his place.
ERIC
(calling, off)
Ask your sister to help you, Ill
be right up.
(into camera)
Hi there...
ANOTHER ANGLE - INCLUDING BOTH
Zoe on the bed and Eric on the screen.
ZOE
Is it just me or is everybody
having lots of sex just not with
the people theyre supposed to be
having it with?
ERIC
Is this a trick question?
ZOE
No. Clayton is screwing that
analyst and Davis Draper is
screwing Cilla Grey who you dont
know but I do.
 38.

ERIC
Jeez. Does Juliet know?
ZOE
Not yet.
ERIC
Are you going to tell her?
ZOE
Dylan and Caitlin and me.
ERIC
Wow. Will you bring nets and a
tranquilizer gun?
ZOE
Thats not funny. Can I ask you
something? Is it hard for you to be
faithful?
ERIC
(a beat, then--)
Im of the old Paul Newman school:
Why go out for a hamburger when you
can have steak at home?
ZOE
(chiding)
I choose to believe you.
ERIC
So listen, Ive got some good news
and bad news. Ive got a third
interview for the restoration in
Charleston, tomorrow morning.
ZOE
Thats great. Whats the bad?
ERIC
If I get it, Id have to be on site
for a couple months at least.
ZOE
I thought you said theyd let you
work mostly from New York?
ERIC
The terms of their matching grant
specifies that the architect be on-
site. They moved the chains.
A beat, looking at each other over the Ethernet, as the
possibilities sink in.
ZOE
Jesus. I mean, I hope you get it,
you know that.
 39.

ERIC
Zoe, either youd have to cut way
back on travel or Id have to bow
out.
A horrible noise, from the kids, off.
ERIC (CONTD)
(calling, off--)
Cut it out!
(to Zoe)
I gotta go. Night--
His image disappears. She lays back on the bed, suddenly wide
awake.
EXT. REGENCY HOTEL - CURBSIDE - DAY
Richard in golf attire, standing by his Mercedes SL55 as
Peter Johnson comes out with a golf bag slung over his
shoulder.
PETER
Hey Ricardo! What a day for it,
huh?
Hearty handshakes. Richard takes his clubs and loads them
into the trunk.
RICHARD
I asked Eli Manning to join us,
hope thats okay.
Peter with a chuckling yeah-its-okay high five as a BICYCLE
MESSENGER comes skidding up by the entrance and clocks their
attire--
MESSENGER
Peter Johnson?
PETER
You got him.
The messenger reaches a couple of shrink-wrapped clubs
fastened to his backpack and hands them over.
MESSENGER
Compliments of Dylan Mason.
Richard with a look like, fucking-a.
PETER
Great! Thanks!
Slips him a five as Richard struggles to keep his game face
on.
EXT. JULIETS APARTMENT BUILDING-DAY
Dylan steps out of a town car, cell phone to her ear.
 40.

DYLAN
(into phone)
He got the clubs? Fantastic! Thank
you...
PULLING BACK, revealing Zoe and Caitlin stepping out of their *
cars as well. Caitlin does a quick scope and winces. *
CAITLIN
Jesus, Mary and Joseph; were all
wearing black.
As indeed, they are.
INT. JULIETS APARTMENT BUILDING-HALLWAY-DAY
Caitlin, Dylan and Zoe step off the elevator and into the
foyer between the opposing doors to the two apartments on the
floor. Juliet opens her door, wearing a robe, stuff in her
hair. Her initial surprise at seeing all three of them--
JULIET
Hi!
--turns to alarm before they can reply.
JULIET (CONTD)
Jesus Christ. Who died?
They clearly havent thought about an opening--
ZOE DYLAN
Nobody. We just thought wed-- --show of support on the big
night!
CAITLIN JULIET
I love that dress! Well, come on in!
They all move inside--
INT. JULIETS APARTMENT-LIVING ROOM-DAY
They walk the thin line between casual drop-in and Bataan
Death March.
JULIET
Coffee, tea, should I open a bottle
of wine?
CAITLIN
Wine sounds good!
JULIET
Wine it is. Just as soon as you
tell me what the hell is going on.
Looking from one to the other, expectantly. And they glance
at each other, in a process that silently chooses Zoe as
spokesperson.
 41.

ZOE
Theres no easy way to say this. I
saw Davis coming out of the Mercer
Hotel with Cilla Grey. Kissing her.
And not just a...nice running into
you kiss.
PUSHING IN ON JULIET, unreadable.
JULIET
(evenly)
And when was this?
ZOE
Tuesday afternoon.
JULIET
And youre positive it was Davis.
ZOE
Yes.
JULIET
(a moment, then--)
Well, thank you for that. I know it
couldnt have been easy. Ill go
get us that wine.
And just like that, she goes; leaving Zoe, Caitlin and Dylan
trading dumbfounded thats it? looks. They rise as one--
CAITLIN
Juliet?
--and go after her.

END OF ACT THREE

 42.

ACT FOUR
INT. JULIETS APARTMENT-KITCHEN-DAY
She is wrestling with a corkscrew and a bottle of Chablis as
the other three come in.
JULIET
Dylan would you grab some glasses?
And she does.
ZOE
Juliet? Say something.
JULIET
Whats there to say? My husband...
steps out on me.
DYLAN
You knew?
JULIET
About Cilla Grey? No. Thats kind
of a nasty wrinkle. Its always
been an out-of-town sort of thing.
Would you mind?
She hands off the bottle and corkscrew to Dylan, rubs her
hands together as if to steady the shaking.
CAITLIN
But you still stay with him?
Juliet suddenly turns on her, ferocious.
JULIET
Do not judge me! When youve been
with someone, anyone, a man, a
woman, an effing pet for fifteen
years, then we will talk! YOU DO
NOT GET TO JUDGE ME!
Dylan pops the cork, pours a glass and gets it into Juliets
hand with lightning speed. Juliet takes a long swallow.
JULIET (CONTD)
(adamant, to all)
Im not excusing him. But look at
what...what a man gives up to be
with one of us. We make more money,
we rise higher, we take up more
space; we are as far from the idea
of a wife he grew up with as its
possible to be and still wear his
ring and go by his last name.
Takes another long swallow. Dylan tops her off.
JULIET (CONTD)
Dont get me wrong, I hate it. But
I hate the alternative more.
(MORE)
 43.
JULIET (CONTD)
I dont want to be a single mother,
a blind date, a third wheel. I love
having someone to come home to, go
to parties and do the post-mortems
after with, plan holidays for...
She breaks off, gently places her glass on the counter, takes
a deep, restorative breath.
JULIET (CONTD)
So there it is, the secret to my
happy marriage. But kids, dont try
this at home.
Giving them all permission to breathe again. Zoe gives her a
squeeze of a hug.
ZOE
We love you.
JULIET
I know you do.
CAITLIN JULIET
Im sorry if I... You didnt. Help me with my
make-up?
Juliet holds out a hand to her, picks up her wine with the
other. Perez Prados blazing cover of the Duke Ellington
classic Caravan surges up on the soundtrack.
EXT. CIPRIANI BALLROOM-EAST 42ND ST.-NIGHT
Music continues, over. A line of limousines, a phalanx of
PHOTOGRAPHERS, a swell CROWD pouring in.
PUSHING IN ON A LIMOUSINE PULLING UP -- the DRIVER opening
the rear door -- getting out one by one, Dylan, Zoe, Caitlin
and finally, in all her dressed-to-kill glory, Juliet.
The other three flank her, steady her, forming an iconic
flying wedge, Reservoir Dogs meets Prada runway--
JULIET
Dont pull me off til he starts to
turn blue.
INT. CIPRIANI BALLROOM-EAST 42ND ST.-NIGHT
--as if by intuition or some invisible force shield, the
CROWD PARTS before them as they make their way into the heart
of the cocktail crush, past graphic displays for the New York
University Child Study Center--
CAITLIN
Ill get the table numbers--
ANNOUNCER (OS)
Ladies and Gentlemen, please find
your seats...
 44.

Caitlin peels off to the reception tables as Juliet, still

flanked by Zoe and Dylan and sporting a dazzling smile as she
tosses greetings to FRIENDS all around, closes in on Davis
and Emily, who greet her with enthusiastic open arms and
bored exasperation, respectively.
DAVIS
Wow! Look at you!
She offers a cheek, he kisses it and takes her hand.
DAVIS (CONTD)
Zoe, Dylan, great to see you!
They respond with quick smiles and curt nods.
ZOE DYLAN
Davis. Hello.
JULIET
(to Emily)
Hi Em.
EMILY
How long is this thing?
Juliet is swallowed up by a knot of WELL-WISHERS before she
can respond. Zoe and Dylan move in close to Emily.
ZOE
Emily, why dont you pretend that
your Mom is one of your friends,
just for tonight.
DYLAN
A friend whos been kind of down
and could use some cheering up. Can
you do that?
The challenge in their expressions brooking only one answer--
EMILY
(cowed)
I guess.
ANNOUNCER (VO)
Please take your seats.
The ASSEMBLED move in a herd--
INT. BALLROOM-JULIETS TABLE-NIGHT
A table of twelve, Juliet sitting next to Davis, Emily on the
other side of her as, on stage at a podium, the President of
the Board of Trustees, GRIFFIN STERN, 50, introduces Juliet.
GRIFFIN
The woman we honor tonight can
truly be called a force of
nature.
(MORE)
 45.
GRIFFIN (CONT'D)
Shes as warm as a June afternoon,
inspiring as a mountain view, and
as anyone who has tried to say no
to her can attest, she can be as
fierce and unrelenting as a
hurricane.
Laughter, applause. Juliet leans in to Davis, close to his
ear:
JULIET GRIFFIN
I know about Cilla Grey. Listen to these numbers...
Davis smile freezes and fades, the color drains from his
face.
DAVIS GRIFFIN
Im so sorry. Five point eight million
dollars raised in the last
twelve months.
JULIET GRIFFIN
Someone we know, where we Not including her leadership
live. gift of one point five
million dollars...
PUSHING IN CLOSER ON THEM, all other sound dropping out.
DAVIS
Its over, as of right now.
JULIET
It sure as hell better be.
DAVIS
(abject)
What can I do? Just tell me what to
do.
JULIET
You know what you can do, Davis?
Take a good look around at all our
friends. Go on...
He looks around, uncertain.
DAVIS
Okay...
JULIET
Now, you wont know who and you
wont know when, but I am going to
take one of them as my lover, and I
am going to do things with him that
would curl your toes. And then I am
going to end it, and you and I can
start over with a clean slate.
The ambient SOUND comes back up--
GRIFFIN
Ladies and Gentlemen, Juliet
Draper.
 46.

APPLAUSE, tables STANDING, as she turns on her dazzling smile

and starts weaving her way to the stage.
Davis is slumped in his seat, like hes just taken a bullet.
ANOTHER ANGLE-DYLAN TO ZOE TO CAITLIN
At adjoining tables, alerting each other to the sight of
Emily prodding her father to his feet. He reaches out with a
shaky hand, grabs his drink and downs it in one long gulp.
JULIET
Thank you Griffin, thank you all so
very much...
Bathing in the applause as the O Fortuna from Orffs
Carmina Burana comes up on the soundtrack.
Zoe checks her watch, reacts with alarm, and bolts.
EXT. FRIENDS MEETING HOUSE SCHOOL-NIGHT
Music continues, as Zoe runs double-time down the sidewalk
and up the steps.
INT. FRIENDS MEETING HOUSE SCHOOL-NIGHT
Music continues, as she takes a staircase three steps at a
time--
--and bursts through double doors and goes tearing down a
long, empty corridor. A heel snaps, she bends down and takes
off her shoes, barely breaking stride--
--she rounds a corner and skids to a stop by the auditorium
entrance, where a couple of other LATE MOMS are waiting and a
MATRONLY TEACHER is standing guard. Zoe, breathless, reaches
for the door as the music builds further--
MATRON
Sorry. No ones allowed back in
until intermission.
ZOE
Youre kidding me.
MATRON ZOE
No, Im not. My daughters in there.
MATRON
Itll just be a few minutes.
Zoe notices--
--further up the corridor, A little GIRL in a tutu is
throwing up in a wastebasket, by the backstage door--
Zoe bolts, stops to tuck back the little girls hair, slips
in the backstage door and feels her way along in the dark, in
the wings, as--
 47.

--on the stage, a dozen GIRLS ranging in age from 7 to 11,

including Sasha, are doing their best with an over-the-top
Ode to Spring choreographed to the Orff cantata--
--Zoe stays out of the lights as best she can, bangs a shin
and muffles her curse, edging her way down and into the
auditorium. Sasha sees her, reacts with surprise and misses a
step; Zoe grins and gives her a thumbs-up--
--and scans the auditorium for Eric or an empty seat as
hushed and urgent down in fronts come flying from the
darkened house. She spots Eric and his sheepish little wave
and makes her way to his row--
--as hundreds of eyes shoot daggers and the O Fortuna
reaches its crescendo. She sits down next to him, dabs sweat
from her brow and grins, giddy with triumph.
ZOE
(whispering)
I made it!
ERIC
(a moment, then--)
They offered me the job.
Music ends, APPLAUSE breaks out. Zoe and Eric look at each
other, like, now what?

END OF ACT FOUR

 48.

ACT FIVE
INT. GORHAM, SUTTER-CLAYTONS OFFICE-DAY
Clayton is standing at the window with his back to the camera
watching the rain pour down as Zoe comes in.
ZOE
Good morning.
CLAYTON
Not exactly. What the hell did you
say to Kate?
ZOE
(gingerly)
I didnt say anything to Kate.
CLAYTON
She wants me to put two hundred and
fifty thousand dollars in an escrow
account in case of wrongful
termination. You tell her to do
that?
ZOE
Of course not. Look, Clay, why
dont you just cut...whatever it
is, off.
CLAYTON
I cant. I havent felt like this
in years. You wouldnt understand.
He turns around. Hes got quite a shiner crowding his left
eye.
ZOE
What happened?
CLAYTON
(evasive)
Racquetball. Now what did you want
to see me about?
ZOE
Erics been offered a job that
would take him out of town. Id
have to cut back on traveling.
CLAYTON
(a moment, then--)
I guess Kate can handle the road
shows as long as youre on the
sidelines calling in plays.
ZOE
Kate?
CLAYTON
Were all spread thin as it is. If
shes willing to step up, whats
the problem?
 49.

ZOE
Well, shes inexperienced for one
thing--
CLAYTON
So now shell get the experience,
and well see what shes made of.
You were green once yourself, you
know. And then you got your shot.
PUSH IN ON ZOE, pinched between a rock and a hard place.
INT. CHLOE PARRISH-ALICIAS OFFICE-DAY
Alicia at her desk, the bouquet of flowers arranged in a vase
by her computer. She is poring over a marketing report and
surrounded by piles of them. Caitlin knocks on Alicias door,
leans in--
CAITLIN
Im taking a pitch at four that Id
like you to sit in on.
(re: flowers)
What a beautiful arrangement.
ALICIA
My darling little brother. I think
hes trying to make up for his
hideous behavior when we were
children.
Caitlin like, there is a god. And makes the leap----
CAITLIN
Listen, are you free for a drink
after work? I know its kind of
last minute, but--
ALICIA
Id like that very much.
Betty Buckleys aching rendition of I Had A Dream About You
insinuates onto the soundtrack.
INT. ZOES BROWNSTONE-ERICS STUDIO-EARLY EVENING
Music continues, over. Zoe, hair wet and wrapped in a robe,
knocks-once-and-enters Erics studio on the top floor. Eric
is stretched out on a huge old leather Chesterfield couch, on
the phone.
ERIC
(into phone)
...I sure will Alan, and thanks
again. You too. Bye.
He buttons off the phone as she curls up on the couch.
ZOE
I told the kids they could watch a
half-hour of Cars.
 50.

ERIC
Man, when it rains, it pours.
ZOE
What?
ERIC
A couple from school? They just had
a bid accepted for a townhouse on
Bedford Street. Theyve seen our
place and they want a version of
what I did here, and right away.
ZOE
Is it an offer?
ERIC
A really good one, and too great an
opportunity to pass up, portfolio-
wise. Plus you wouldnt have to cut
back.
ZOE
I was happy to do that, you know.
He pulls her close and kisses her.
ZOE (CONTD)
So when have they been here?
ERIC
Playdates. Its Jasons parents,
the Keeners?
ZOE
That Victoria has a thing for you,
you know.
Theres just the slightest hitch as he considers his response
for a split-second.
ERIC
Hamburger.
She opens her robe and climbs on top of him.
ZOE
So how do you like your steak done,
Mister?
Silencing his laugh with a hungry kiss and getting down to
business. Music continues.
INT. BARNET-NASH-DYLANS OFFICE-EARLY EVENING
Shes on the phone when her assistant, SARA, early forties,
leans in, urgent.
SARA
Hughes wants to see you.
 51.

DYLAN
(into phone)
Ill e-mail you the rest, gotta go,
bye.
(hangs up, gets up)
How did he sound?
SARA
(shrugs)
Australian.
Dylan takes a deep breath, starts out--
SARA (CONTD)
Good luck.
Music continues.
INT. BARNET-NASH-HUGHES OFFICE-EARLY EVENING
Music continues, over and under the following, as Dylan
shakes hands with Hughes by his door.
HUGHES
Tell you the truth, no ones more
surprised than me. But youve
earned it, Dylan. Congratulations.
DYLAN
Thank you, Robert.
He opens the door for her and she goes out--
INT. CORRIDOR-CONTINUOUS-SAME
--and takes a few dignified steps and then breaks into a
combination Footloose-End Zone dance down the hallway,
oblivious of the looks from COLLEAGUES, exultant. Music
continues--
EXT. TOWN BAR AND RESTAURANT-NIGHT
Music continues, over and under. Caitlin and Alicia walk out
together, lit up with drinks and laughing. Caitlins Jaguar
is waiting at the curb.
CAITLIN
Can I drop you?
ALICIA
Im meeting my brother for dinner
in Brooklyn. Ill just take a
taxi...
A shy, charged shuffle; Caitlin takes her gently by the
elbows and brushes a kiss to both cheeks.
CAITLIN
This was fun. Good night...
 52.

But as she steps back, Alicia catches her eye with a

challenging, mischievous, unmistakably erotic look and
Caitlins breath catches--
--and Alicia steps up and kisses her full on the mouth. And
they melt together in a shyly passionate little shuffle right
there on the sidewalk--
--as Cilla Grey passes by on her way in, recognizing Caitlin
with a look of surprise, quickly turning away and
disappearing inside, unnoticed by Caitlin. The kiss ends.
CAITLIN (CONTD)
(after a moment,
breathless)
I should tell you. Ive had a.
Terrible time with men. And no real
experience. With women. So Im kind
of, you know. Flying without the
instruments here and--
Alicia silences her with another kiss.
ALICIA
And I should tell you that youre a
wonderful kisser. Im late, see you
Monday...
And with a last peck she runs off towards the avenue, hailing
a cab. Caitlin leans back against the wall, closing her eyes,
thrilled and scared all at once.
INT. BARNET-NASH-DYLANS OFFICE-NIGHT
Music continues, over and under. Dylan is on the phone with
her feet up on the desk, on the phone, expansive.
DYLAN
...I dont know how he took it
cause I havent seen him yet.
A knock on the door, followed by Richard with a bottle of
Patron and two shot glasses.
DYLAN (CONTD)
(into phone)
This is him. Talk to you later..
(hangs up)
I was wondering where you went...
RICHARD
I took the liberty of expensing
this to you. Congratulations...
Shes up and around her desk in a flash.
DYLAN
You mean it?
RICHARD
Of course I do.
 53.

He opens the bottle and pours out shots and clinks her glass
with his.
RICHARD (CONTD)
To the Queen of All Media. Cheers.
He drinks, puts down his glass, slides her a rueful smile.
RICHARD (CONTD)
My teams taking me out for a Last
Supper. Im gonna have to run...
DYLAN
Then Ill see you later?
RICHARD
Oh, and Pablo called with their
counter-offer on the loft. Two-
eight, which mean you can probably
get it for around two-five. And
they do have a permit for the
terrace renovation, my lawyer got a
copy...
He slips an envelope from his jacket and hands it to her.
DYLAN
(uneasy)
Richard? Whats going on?
RICHARD
(a moment, then, measured)
I thought I could do it, Dylan. I
tried, I swear. I thought Id win
and Id buy us the loft and take
care of you and...and now that its
reversed I just cant see...us, or
my place in it. Im really sorry.
DYLAN
(stunned)
I cant believe youre doing this.
RICHARD
Dylan, Im forty next month. I want
someone to come home to, Im going
to want kids, and were just going
in opposite directions.
DYLAN
(angrily)
You dont know what I want!
RICHARD
Yes I do. More than anything else,
you want to win.
This stings, silencing her. He takes a swig from the bottle
and goes. PUSH IN ON DYLAN, as she catches her refection in
the mirror hanging over the couch and its as if, just for a
moment, shes doesnt recognize the woman staring back at
her.
 54.

She tosses the envelope he gave her aside and downs the shot
he poured her like it was liquid courage. Music continues,
over--

END OF ACT FIVE

 55.

ACT SIX
EXT. MAXWELLS RESTAURANT-MIDTOWN-DAY
CAMERA crossing the street and PUSHING INSIDE. Max is our
narrator again, instructive--
MAX (VO)
Another thing about them? They
rarely ask for favors, and when
they do, we hop to it...
INT. MAXWELLS RESTAURANT-MIDTOWN-DAY
--and through the boisterous lunchtime circus, past Max and
Sean huddled at the end of the bar, to the table by the
window. Juliet, Caitlin, Zoe and Dylan, in the huddle.
MAX (VO CONTD)
...without comment or question,
grateful for the opportunity.
JULIET
...and I told him that after a
while I would end the affair and we
would start over with a level
playing field.
DYLAN
Wow. Good for you.
ZOE
Do you think you can really go
through with it?
DYLAN
Hey, were not talking about oral
surgery here.
CAITLIN
Just oral. Ha ha.
JULIET
(a moment then,
thoughtful)
Most of me hopes I can; part of me
hopes I cant. I do love Davis, you
know.
Nods, sips, silence for a moment as this lands on all.
JULIET (CONTD)
(to Dylan)
Howd Richard take your promotion?
DYLAN
(casual)
He was really sweet about it. Hes
going to take some time off,
travel, figure out his next move.
CAITLIN
What about the loft?
 56.

DYLAN
Thats on hold til we see where he
lands.
They all get it, and they all hide that they get it, because
sometimes thats what friends do.
ZOE
(looking off--)
Heads up.
ANOTHER ANGLE-BY THE DOOR
Cilla Grey entering with Pablo, clearly distraught.
PABLO
You know how it is, Cilla. The
board doesnt have to give a reason
for turning you down.
CILLA
Well next time could we do our
homework and find something I can
fall in love with and actually buy?
PABLO
Of course.
She turns on a high-beam smile for Sean, the maitred.
CILLA
How are you, Sean!?
Tight smile, squints at his reservations ledger.
SEAN
(politely)
Im sorry, Ms. Grey, but Ive got
nothing down for you.
CILLA
(gesturing)
Sean, Im that table right over--
And she breaks off, incredulous, seeing that her table is
taken. The favor, granted.
CILLA (CONTD)
Theres been a terrible mistake.
Wheres Max?
SEAN
(nail in the coffin)
As you know, Ms. Grey, Max goes
over the book personally, every
morning.
She gets it. Pablo clears his throat and inspects his shoes.
She takes a step forward, affording her a view of Juliet and
company, who keep their eyes fixed on her for just long
enough to register and then go back to each other.
 57.

PABLO
(taking her arm)
Well go to my club--
CILLA
One minute.
And she strides past Sean and into the room and up to them,
primed for the unthinkable. A confrontation. In Maxwells.
During lunch. On a workday. All four look up with pleasant,
expectant smiles.
CILLA (CONTD)
The Cashmere Mafia. Thats what
they call you, you know.
JULIET
Really?
CILLA
I was sleeping with your husband.
You dont want to know what I know
about you.
JULIET
(pointedly)
And vice-vera. Careful there.
CILLA
(to Caitlin)
Id changed my mind about the
apartment anyway. Not enough closet
space. See you around the campus,
girls.
Waltzing off, head held high. They glance at one another.
JULIET DYLAN
What was that? Closet space?
CAITLIN
(shrugs, casual--)
No idea.
Frowns, smiles, a roll of the eyes. The silent language of a
united front.
ZOE
Whos ready to order?
A waiter appears.
JULIET CAITLIN
Ill have the salmon? Cobb Salad.
DYLAN ZOE
Cobb. Steak Frites, medium rare?
JULIET
Hold on. Me too.
 58.

CAITLIN DYLAN
That does sound good. Make it four.
The waiter moves off as Max moves in with a bottle of Dom
Perignon and four champagne flutes. He sets the glasses and
pours--
MAX
I understand some congratulations
are in order here. Cheers, Dylan.
DYLAN
Thank you, Max.
Juliet, Zoe and Caitlin all raise their glasses to her as the
Rolling Stones celebratory Shes a Rainbow sneaks up on
the soundtrack.
JULIET *
To friends in high places. *
And PUSHING IN ON DYLAN, emotional, as the profit and loss of *
the last days catches up to her. *
DYLAN *
I dont know what Id do without *
you all, I really dont. *
They each take a sip of champagne, then-- *
ZOE *
Okay, who wants to go next? *
And as they lean in closer, and the music surges, FADE OUT. *

END OF STORY