Sherman A. Gerber rolls into the parking lot at his large talent management firm (he's an agent there, but he doesn't run the place) in his Mercedes s60 around 9:30 (aren't Hollywood hours just the best?), and heads to his office. His secretary has already given him all his messages over the phone, so no need to check his emails and voicemails once he arrives. He returns the call of one of his clients, a regular working actress but not his cash cow by a long shot. She's calling to set up a meeting—she wants to go over her latest set of headshots, and ask his opinion on which shot presents her in the best light and depicts her as she really is (even though she's going to go with the one where her hair looks the best regardless of his suggestion). They schedule an appointment for 3pm the following Tuesday. He then calls back a prospective client—an actor he met at a networking event who really impressed him (personally, at least; he'll have to see if he's got the chops to be worth his while). They schedule a meeting as well. After that, Sherman runs out to grab an early lunch with Mason Preminger, his premier client. Mason's starring opposite Mandy Moore in an upcoming film, 200 Things I Don't Particularly Dislike About You All That Much. Winner.*
*This is not, in fact, a winner.
Mason, who is still getting used to this newfound fame, needs some help managing aspects of his life that were never really an issue before. He has TV appearances to schedule (and to remember to attend), red carpet events, sit-down interviews, magazine shoots, etc. Sherman insists he has nothing to worry about—ol' Sherman boy is going to take care of all of that for him. That afternoon, ol' Sherman boy does just that—he places a call to schedule an appearance for Mason on Chelsea Lately and then calls to confirm his 3pm Maxim shoot for this coming Thursday. (He will call Mason himself to follow up before each event to make sure he hasn't forgotten about these critical appointments.)
Once the day's Mason dramas are out of the way, Sherman meets with a couple of new prospective clients, feels them out, and tells them he'll get back to them to let them know if he'll be representing them. He knows instantly these two are complete duds—they're just not at the level of success yet that they need to be before he'll take on new talent—but he gives them each ten minutes of his time out of politeness (a trait not shared by all talent managers). He then has a 4pm meeting with another of his clients, Missy Rae, whose career is starting to blossom with a starring role on a remake of the '90s sitcom...Blossom, ironically enough. She's feeling a bit overwhelmed with everything that is suddenly expected of her, so Sherman does what he can to talk her down off the ledge and help her put things in perspective. "Like, she's got her own flippin' television show, so maybe she should snap out of it!" (He thinks that, but doesn't say it.)
Back in his car, he calls the office to get any new messages from his secretary, then he's off to attend an actor's workshop where he'll scope out some new talent (those things are pretty hit or miss). After that, he'll probably hit up The Standard for a drink or two, which is typical Monday night behavior of the sad and alone.