MAD MEN "Lullaby" Written by Matt Reynolds
626.808.2083 [email protected] New to show: Set in 1960s New York, the sexy, stylized and provocative drama Mad Men follows the lives of the ruthlessly competitive men and women of Madison Avenue advertising, an ego-driven world where key players make an art of the sell. The series revolves around the conflicted world of Don Draper, the biggest ad man (and ladies man) in the business, and his colleagues at the Sterling Cooper Draper Pryce Advertising Agency. As Don makes the plays in the boardroom and the bedroom, he struggles to stay a step ahead of the rapidly changing times and the young executives nipping at his heels. The series also depicts authentically the roles of men and women in this era while exploring the true human nature beneath the guise of 1960s traditional family values (from the AMC website). Previously on: Lullaby is set during season five. It's 1966. Don Draper is married to his former secretary, Megan, and they live in a new and stylish Manhattan apartment. Don appears happily married, but old habits and insecurities resurface as the season progresses. Pete Campbell has relocated to the suburbs with his wife, Trudy, and baby daughter, Tammy. Peggy Olson still struggles for acceptance in the male-dominated world of Sterling Draper Cooper Pryce. Megan, now a copywriter, navigates the work environment as the boss’ wife. Roger is trying to rise above his increasing irrelevance and keep pace with Pete, who is more ambitious than ever. 2.
FADE IN:
INT. PETE’S HOUSE - BEDROOM - NIGHT An alarm clock which reads 5:20. PETE, in his pajamas, lies wide awake in the half light. In another room his baby daughter TAMMY cries. The sound is primal, like a fragile animal in pain or in distress. A pale blue drape hangs over the window. Orange light frays the edges, burns dreamy bright and hot -- too hot and too bright. Pete, restless, adjusts his pillows, places the covers up to his neck. He turns to one side, then onto his front and finally over onto his back. He gets out of bed and moves over to the curtains, pulls the drapes tighter, smothering the light. Pete looks at the closed door towards the inexorable cries of his daughter. He looks wounded. Like this is all somehow his fault.
INT. PETE’S HOUSE - DINING ROOM - NEXT MORNING TRUDY, still in her nightgown, cradles the inconsolable baby in her arms, shushing into her ear. Pete is seated at the table, drinking coffee. He’s dressed in his suit, dark shadows beneath his eyes. PETE Did you call the pediatrician? This isn’t normal. TRUDY There’s no cure for teething, Peter. PETE I can think of one. It’s above the kitchen sink. (off her look) Jesus, Trudy. I’m not talking about the bleach. Scotch and milk never hurt anyone. 3.
TRUDY Raised voices aren’t helping either. Eat your breakfast. Let me take care of it. PETE That’s what I was waiting for. Pete takes his jacket off the back of the chair, shakes out the creases.
EXT. COMMUTER TRAIN - DAY A streak of train cars. At a window Pete dozes, his paper in his lap. The train rattles over a grade crossing, the sound of a horn. Pete still sleeps.
INT. STERLING COOPER DRAPER PRYCE (SCDP) - DON’S OFFICE - DAY DON pours himself a straight scotch. His secretary, DAWN, buzzes through. DAWN (V.O.) Mr. Sterling to see you. DON Send him in. Don pours another glass of scotch as Roger enters. ROGER Jane has spare tickets to Guys and Dolls. I say we send the girls back after intermission, while we light a fire at the bar. DON (handing him a drink) Megan has other plans. ROGER That’s right. The dinner party I’m not invited to. DON I don’t even know what your house looks like. 4.
ROGER Jane can’t find her way around a kitchen. She used to compensate in other ways. Dry chicken never used to bother me. Lately, I find that it does. Roger takes out a cigarette, lights it. ROGER I came to tell you that Hathaway has landed. He’s on his hands and knees in the conference room, searching for mines. DON I thought we were expecting him after lunch. ROGER You know these military men. They always show up when you least expect it. Don finishes his whiskey. DON Well then, shall we go and face the firing squad?
INT. CONFERENCE ROOM - MOMENTS LATER PEGGY, STAN, LANE, and a now-alert Pete are seated on one side of the conference table, Lever Brothers chairman COMMANDER HATHAWAY (late 60s) on the other. Hathaway is a stoic man with a long beard which makes him looks like a frontiersman. He’s best classified as difficult and eccentric. He’s flanked by HENRY, a grey and slightly frail looking executive. COMMANDER HATHAWAY (to Lane) Why the modern soldier can’t grasp the simple concept of leaving a place the way one found it -- it’s beyond me. LANE It’s a sin. 5.
Don and Roger enter the room. PETE Here’s the man of the hour. COMMANDER HATHAWAY Draper, Roger. So good to see you. DON (shaking hands) Commander Hathaway. Always a pleasure. COMMANDER HATHAWAY I was just boring Lane here with a couple of old war stories. ROGER Not anything that happened in action I hope, Commander. LANE Why don’t we all get comfortable? I do apologize but we were caught a little unaware. I had Joan order some Danish pastries and a few other tasty morsels. COMMANDER HATHAWAY That’s all right. I’m not that hungry. You don’t mind if I smoke my pipe do you? LANE By all means. Hathaway opens a wooden box which contains an ornate pipe. Don and Stan stand by the board (with the Dove logo) and easel. DON Beauty is how you feel inside, and it shows in your eyes, your smile and your skin... Stan flips the board. A mock-up of an ecstatic looking twenty- something girl. She has an immaculate complexion and is luxuriating in a bathtub. DON When you hold a bar of Dove in your hands, you’re holding onto something intangible. (MORE) 6. DON (CONT'D) Dove cleanses and moisturizes like no other soap can. Dove keeps you looking young... Henry lights the bowl of the pipe. Hathaway puffs, making it red hot. DON Dove makes other soap old fashioned. PETE I must say, it’s impressive. Hathaway feigns indifference, exhaling a plume of smoke. COMMANDER HATHAWAY A big chunk of our demographic is middle-aged women. How will this play to them? DON This middle-aged woman of yours wants something. COMMANDER HATHAWAY I think so. She wants the approval of her man. DON And what gets in the way of that approval? (beat) Younger women. You may not be the girl in the picture. But you can compete with her, if you use Dove. COMMANDER HATHAWAY They buy our soap because secretly they want to be someone else? It may just be me, but isn’t that a little abstract? Peggy and Don share a look. PETE Why don’t we let Don come up with something else. We’ll present some more ideas tomorrow before you leave. Hathaway rises from his chair. 7.
COMMANDER HATHAWAY In spite of what I said earlier, I’m starting to feel a little hungry. When do we fly back to Chicago, Henry? HENRY Three in the afternoon, Sir. COMMANDER HATHAWAY That’ll give you another chance dazzle us. PETE We thank you for that opportunity.
INT. SCDP - CORRIDOR - MOMENTS LATER Pete, Don, Lane and Roger lead Hathaway and Henry towards reception. Peggy follows. PETE Lunch at the Waldorf then? I made us reservations. COMMANDER HATHAWAY (re: Peggy) Why don’t you have your secretary type the minutes of the meeting and join us, Draper? ROGER You realize Commander, when you send this man down the elevator you’re taking out three quarters of our creative firepower? COMMANDER HATHAWAY You’ll come too, won’t you Roger? PETE Don’t you have that other thing to do? ROGER What thing? What are you talking about? Pete looks a little miffed. MEGAN walks out of the creative lounge as Peggy enters. Megan smiles at Don and hands him some papers. 8.
MEGAN Copy for Samsonite. Hello Mister Hathaway. He kisses Megan on the back of her hand. COMMANDER HATHAWAY You’re the only one I let call me that. You don’t mind if I steal Mr. Draper away for a few hours? MEGAN As long as you have him home by six. PETE That’s settled then. Let me show you out, Commander. Shall we say the Waldorf in one hour? Pete leads Hathaway and Henry towards reception. ROGER (to Don) You know what I haven’t figured out yet? If he loves you or hates you. LANE For the sake of our bottom line, let’s hope it’s the former. Roger and Lane walk back to their respective offices. DON (to Megan) I was hoping you’d give me an out. MEGAN Eric and Beth are very nice. DON I’d rather have Eric run me through box scores. MEGAN You’ll survive. DON What are you doing now? MEGAN Don, don’t. I’m busy. 9.
DON I should do something about that. MEGAN (irritated) I’m serious. Don watches as she walks away.
INT. SCDP - CREATIVE LOUNGE - LATER A table strewn with sketches for Dove. Around it, sit Peggy, Stan and Megan. Stan drinks from a bottle of Coca-Cola. Megan works on copy. STAN Whenever that relic comes in, I automatically reach for my shine box. My shoes look like mirrors right now. PEGGY He thinks I’m Don’s secretary. STAN You were once. Stan glances at Megan. Although she doesn’t look up, she feels his gaze, looks agitated. STAN Maybe I should take a typing class. That seems to be the best way to move up around here. PEGGY You need to learn to read first. What have you got? Stan places his sketch pad on the table. A picture of an undesirable looking woman with bad skin, her face foamed with soap. She’s holding a men’s razor. STAN (off her look) You said you wanted to get authentic. PEGGY No, I said I wanted a real woman. 10.
STAN Is there a difference? PEGGY So in your world, we only come in two shades? Ugly and beautiful. STAN Can we just get this done? I have tickets to the movies. Peggy glances sheepishly at Megan. PEGGY It’s past four, Megan. MEGAN I’m sorry? PEGGY Didn’t you say you had to leave early today. For that thing? MEGAN Don’t you need me to work on the Dove pitch? PEGGY No, I got it. You can leave. This seems to annoy Megan all the more. She stands, gathers her things. PEGGY But if you want to stay, I can always use the extra help. MEGAN It’s okay, you’re right. I should probably go. She walks out of the room. Peggy glares at Stan. STAN (smirking) What? What did I say?
INT. WALDORF ASTORIA - BALLROOM - DAY Roger shakes an empty martini glass at a server. On the table: oyster shells, lobster, shrimp cocktail, martinis, Mai Tais and whiskey. 11.
Roger, Pete and Don are seated on one side of the table. Commander Hathaway and Henry are on the other. PETE I think I’m speaking for all of us when I say we’re delighted that you gave us first swing at this thing. COMMANDER HATHAWAY Now, I know you want to talk business, but let’s not, eh? Let’s have a little fun, since this is at your expense. ROGER You’ll have to excuse Campbell. He’s raising a baby, feels he has to try that bit harder. COMMANDER HATHAWAY A boy, I hope. PETE A girl. COMMANDER HATHAWAY I have two young grandchildren. The patter of their tiny feet is like music. They’re beautiful at that age. PETE They certainly are. Don places a cigarette to his mouth, lights it under Hathaway’s inebriated gaze. COMMANDER HATHAWAY Campbell was telling us about a club in lower Manhattan. What was the name again? PETE Nightingale’s. I’m sure you’ll like it. COMMANDER HATHAWAY You’ll come for a few more drinks, won’t you Draper? DON I’d love to, but I really should get going. 12.
COMMANDER HATHAWAY Come now, Draper. The day is young. DON Can’t be avoided, I’m afraid. Megan’s entertaining. COMMANDER HATHAWAY Do I have to spell it out, Draper? This could be a deal breaker. ROGER Come on, Don. Stay for a few more. Hathaway stands. COMMANDER HATHAWAY I have to say, Draper, I didn’t see you as the type to kowtow to a woman. Henry? I need to use the restroom. Hathaway walks away and Henry follows. ROGER (re: Henry) What’s he going to do? Shake it dry? (off Don’s look) We all have to take one for the team sometimes. I had to live with Lee Garner for thirty years. DON This isn’t my job. ROGER Look on the bright side. At least we’re expensive whores.
INT. SCDP - PEGGY’S OFFICE - NIGHT Peggy, still at the grindstone, typing copy. JOAN enters, carrying her handbag, dressed in her coat. JOAN All these dark offices and idle telephones. You’d never guess that an eight-million dollar account was at stake. 13.
PEGGY I like to believe that what we do here matters. JOAN Just don’t aspire to be more like them. They like things just the way they are. They give us a tiny bit of power with one hand, while they order cocktails and Napoleons with the other. PEGGY It’s what they do. JOAN Yes it is. Goodnight, Peggy. Peggy mulls over Joan’s words.
INT. DRAPER APARTMENT - HALLWAY - NIGHT The Scholtzers, ERIC and BETH, wait outside the apartment. Megan, sumptuous in a black dress, opens the door. BETH We’re early. MEGAN You’re on time. Megan ushers them inside.
INT. DRAPER APARTMENT - LIVING ROOM - CONTINUOUS Beth hands Megan a plate covered in kitchen foil. BETH Grapes stuffed with pistachio and cream cheese. ERIC It exhausted me watching her make them. BETH But they’re swellicious. Megan takes Eric’s wet umbrella. 14.
MEGAN Let me get you a drink. The Scholtzers follow Megan to the kitchen/dining area. The telephone rings. Megan picks up.
INT. NIGHTINGALE’S CLUB - SAME Don is seated in a phone booth, his finger in one ear. The sound of loud jazz can be heard in the background. DON You should probably start the party without me. MEGAN It already started. DON Can’t be helped. MEGAN It’s fine. I understand. I should be helping you with this. DON Don’t worry. It’s in safe hands. A flash of annoyance passes over Megan’s face. DON I’ll try to get home as soon as I can. MEGAN Okay. Megan hangs up. ERIC That Don? MEGAN Yes. I’m afraid he can’t make it tonight. ERIC Terrific. What’s the opposite of a sausage party? 15.
BETH Stop it. We can still make a night of it. MEGAN (a little forced) Yes we can.
INT. NIGHTINGALE’S CLUB - NIGHT Don drifts through a mist of cigarette smoke. A man seated at the bar, FREDDIE TOWNSEND (late 20s), turns towards Don. He’s dressed in a white suit and black bow tie. FREDDIE Don? Donald Draper? Don squints at him through the smoke. DON Do I know you? FREDDIE Freddie. You sold used cars for my father. DON I’m sorry, that was a long time ago. FREDDIE Freddie Townsend. I was just a little squirt back then. Braces, freckles, red hair. DON (remembering) Freddie Townsend... Of course. Look at you. You grew up. FREDDIE With this gimp leg of mine, I feel like I lost a couple of inches. DON You live in the city? FREDDIE Is the Bronx part of New York? I roll around in the mud with the rest of the underclass. (MORE) 16. FREDDIE (CONT'D) At night, they unlock the gates of Manhattan to let me play piano. A bar manager at the other side of the club waves in Freddie’s direction. Freddie props himself up on a cane. FREDDIE (to Don) I should go. They don’t like it when I get chatty with the clientele. Don’t leave without letting me buy you a drink. Or you can buy me one. Freddie limps away, takes a seat at an old upright piano on the stage. Don continues to THE TABLE Where Hathaway and Henry sit, drinking cocktails. The air is heavy with smoke from Hathaway’s pipe. Don takes a seat. COMMANDER HATHAWAY Is this conducive to your creative mind, Draper? DON Personally, I work better in a quiet room with plenty of light. COMMANDER HATHAWAY I can’t speak for your other accounts. But the relationship means as much to me as the work. PETE Then you came to the right agency. COMMANDER HATHAWAY I think we did. ROGER Can we get that in writing? COMMANDER HATHAWAY Business is not that dissimilar to war. You have to be sure of the men you go into battle with, be sure of their commitment to the cause. 17.
DON We’re a small shop. I promise you, your account will get the attention it deserves. COMMANDER HATHAWAY There’s more on offer than just a bar of soap. I don’t like to fragment our products. I like to keep things neat and tidy. DON I didn’t think we were here to talk business. Hathaway studies Don, puffing on his pipe. DON Can I speak plainly? COMMANDER HATHAWAY By all means. DON If you sign with us, we’ll be one hundred percent committed. But what we won’t do, what I won’t do, is bend over a barrel to please you. We’re a creative agency, not a babysitter. PETE What Don’s saying... COMMANDER HATHAWAY I believe he can speak for himself. DON That’s all there is. That’s all I have to say. COMMANDER HATHAWAY (to Pete and Roger) Now I understand why they leave the selling to you account men. A long pause. COMMANDER HATHAWAY What you lack in finesse Draper you make up with chutzpah. We’ll see you tomorrow at eleven hundred hours. 18.
Hathaway shakes Don’s hand. COMMANDER HATHAWAY Don’t disappoint. Hathaway leads the way to the front of the club. Roger turns to Don. ROGER That’s the thing about Kamikaze pilots, sometimes they hit the boat. PETE And sink the whole damn ship. If you’re going to commit harakiri could you do it with his clients? ROGER Stop mixing metaphors. Relax, he’s coming back, isn’t he? PETE I’ll settle the bill. Pete leaves. Roger stands, places his hat on his head. ROGER Share a cab? Don looks towards the stage. Freddie plays jazz on the piano, straining some hurt out of the keys. DON I think I’ll stay for one more. ROGER We need you at your best tomorrow, tiger. DON (re: Pete) You sound like him. ROGER Then shoot me now. Roger finishes his drink, tips his hat at Don. 19.
INT. DRAPER APARTMENT - KITCHEN - NIGHT Beth dries the dishes while Megan puts them away. Eric is behind them in the living room, smoking a cigarette and watching a ball game on TV. BETH The first year is the hardest. MEGAN He’s very happy. BETH Of course he is. Look at you. MEGAN I have no expectations. BETH That doesn’t mean you should settle for less than you deserve. Megan glances back at Eric. The girls giggle amongst themselves. ERIC What’s got into you two? BETH Nothing, honey. Watch your game. A pause. MEGAN If Don only sees me as his wife, what must the rest of them think? Megan kneels and places a pan beneath the sink. Beth glances back at her husband and looks a little bereft.
INT. SCDP - NIGHT CLOSE ON Pete, talking on the phone. PETE Don’t wait up. Chances are you’ll be asleep when I get home. 20.
INT. PETE’S HOUSE - LIVING ROOM - SAME Trudy looks anguished. Tammy cries, restless against her shoulder. The front of Trudy’s blouse is wet with the baby’s tears. TRUDY When will I get a chance to do that Peter? PETE It can’t be helped, Trudy. When an account this big asks us to crawl over broken glass, we’re apt to do it. TRUDY Why not make it burning coals? PETE Trudy... TRUDY You know how I feel? Abandoned. Trudy hangs up. As the line goes dead we realize we are --
INT. SCDP - PETE’S OFFICE - CONTINUOUS Pete is surprised to find Peggy standing at the open doorway. She’s bleary eyed, has obviously just woken. He hangs up the phone. PETE How long were you standing there? PEGGY I was working on the Dove pitch and fell asleep. I saw your light on. What time is it? PETE Past eleven. We just finished with Hathaway. Boy, does he know how to turn cocktail hour into an all night event. Unsympathetic silence. Pete moves over to the drinks trolley, uncorks a bottle of whiskey and pours each of them a drink. PEGGY Where’s Don? 21.
PETE About now? Probably on his way home. (handing her a glass) What do you have for tomorrow? PEGGY Why don’t I run it past you in the morning, when Don’s here. PETE I’m a partner. Why can’t you run it by me now? PEGGY Let me go get my things. Peggy notices Pete’s shoes and socks, tucked beneath a chair.
INT. NIGHTINGALE’S CLUB - NIGHT The club is close to empty. Don sits alone, drunk, smoking a cigarette and cradling a glass of whiskey. Freddie approaches his table. FREDDIE Don. I’m glad you stayed. DON You have some talent. FREDDIE Thanks. Don pushes a glass of scotch across the table. DON I ordered you a drink. Freddie pats the pockets of his suit jacket. FREDDIE I must have left my cigs in the car. You got one? Don offers Freddie his carton. Freddie takes one. FREDDIE (lighting cigarette) I take it from the suit that you don’t sell used cars anymore. 22.
DON I’m in advertising. FREDDIE An ad man. I envy you. Must be some life. DON It has its ups and downs. I don’t remember you playing piano as a kid. You looked like you were enjoying yourself. FREDDIE I pour my heart and soul into those keys, even when my pockets are empty. DON Sounds like a fight. FREDDIE It’s not the strongest of species that survive but rather the ones most adaptable to change. I think it was Darwin who said that. DON Even if it wasn’t, it sounds like something he would say. How’s your father? FREDDIE Pop’s gone. Died two years ago. Cancer of the bone. DON I’m sorry. I didn’t know. An awkward silence. Freddie drains the rest of his drink. FREDDIE I’d like to stay for one more, but I’ve got to get to another engagement. DON At this time? Where? The Village? FREDDIE A private party. Things don’t get started until around three. 23.
DON Sounds exclusive. FREDDIE (smiling) Yes and no. DON Yes and no? FREDDIE I tell you, I’ve seen a few things in my time, but nothing like this. DON What things? FREDDIE Listen to me, running my mouth. I’ve got to learn to keep this hole of mine shut. DON Freddie. Now you’ve got to tell me. Freddie leans across the table, gazing back into the club with a conspiratorial air. FREDDIE These people... How can I put this delicately? They have curious proclivities. And the women. Oh my God, the women. DON How do I get an invite? FREDDIE Even if I could get you through the front door, you don’t have a costume. I always have to dress up. You don’t dress up. You don’t get in. DON What will it take then? Freddie hesitates. FREDDIE Let me make a call. I may be able to get you an outfit. But I’m warning you, it may not be enough. (standing) (MORE) 24. FREDDIE (CONT'D) Are you sure about this? It’s not for the faint of heart. DON I’m sure.
INT. SCDP - PETE’S OFFICE - NIGHT Pete slouches on his sofa, a glass of whiskey in his hand. Peggy sits on the edge of his desk, holding her own drink. PEGGY Would you use Dove to wash your hands? PETE No. Soap is soap. PEGGY There’s no reason to change the strategy. What worked a decade ago still works today. (somewhat whimsical) We don’t use Dove because we’re threatened by some imaginary younger woman. We use Dove because it makes us feel good. The product hasn’t changed, but we have. PETE You’re got something there. Sincerely. Peggy bathes in the afterglow of his approval, in spite of herself. Pete yawns, stretching his arms over his head. PEGGY I should go. You look like you could use some sleep. PETE I can’t remember the last time I slept for more than three hours. Be thankful you have a choice. PEGGY Sorry? PETE Fatherhood changes things. Whether you’re ready for change or not. (MORE) 25. PETE (CONT'D) I keep telling Trudy, all the baby needs is a sedative. But she won’t have it. PEGGY Sounds like she’s being protective. PETE (defensive) What would you know about that? PEGGY You’re right. I’m sorry. PETE When I was a baby, I kept the whole house up with my screaming. My mother tried to sing me to sleep. But my father locked me in a little room to cry it out. When that didn’t work, he poured some whiskey into my milk. He always said, “a drop of whiskey never hurt anyone.” Pete sips at his whiskey, winces. PETE It certainly never hurt me. PEGGY Try a lullaby. Just because it didn’t work on you, it doesn’t mean it won’t work on her. Pete walks close to Peggy. He touches her cheek. PETE I still think about you sometimes. PEGGY Do you? Pete looks vaguely hurt. He leans in close, pats down the stray hairs on top of her head. PETE Why are you always so cold? PEGGY I didn’t know I was. He goes to kiss her but Peggy pushes him away. She moves over to his door. 26.
PEGGY Not here. In my office. She disappears into the corridor. Pete follows.
INT. PETE’S HOUSE - NURSERY - NIGHT Tammy shrieks in the darkness. Light spills into the room as Trudy enters, dazed and dressed in her nightie. She reaches into the crib and picks the baby up.
INT. PETE’S HOUSE - BEDROOM - MOMENTS LATER Trudy lies in bed, presses the baby against her breast. The baby suckles, closes her eyes. Trudy gently strokes her forefinger over Tammy’s crown. Trudy’s eyes grow heavy, her head sinks into the pillow. She’s about to fall asleep when, The baby opens her eyes and shreds her vocal cords, shocking Trudy out of semi-consciousness. TRUDY Please, please, go to sleep. The rat-a-tat-tat of rain drumming against metal as we --
INT./EXT. FREDDIE’S TOWN CAR - STREET - NIGHT A shuttered costume store. Don stares out of the window as the rain slams against the hood of the car. Freddie appears, holding a garment bag, gets into the car. FREDDIE You’re in luck. He had one in your size. Freddie sweeps a clump of wet hair off his forehead. DON How much do I owe you? FREDDIE Two hundred. 27.
DON That much? FREDDIE What can I say? You wake a Jew with a sore head, you pay the price. Don takes out a money clip, peels off two hundred dollar bills. Freddie takes the money, sliding it into his empty wallet. FREDDIE It’s going to take us at least an hour to get there, if you want to sleep awhile. DON If it’s all the same to you, I think I’ll stay awake. FREDDIE Suit yourself. Can I get another one of those cigarettes? I guess I ran out. Don hands Freddie a cigarette. He lights it beneath Don’s watchful gaze.
INT. SCDP - PEGGY’S OFFICE - NIGHT Peggy sleeps on the sofa, using Pete’s jacket as a cover. She awakens and sees Pete standing, fastening the top button of his shirt. PEGGY You’re leaving? Pete gloomily slides his tie into his collar, tightening the noose around his neck. PETE Can we agree that this never happened? I’m a partner. You’re a copywriter. PEGGY And never the twain shall meet? Pete smiles grimly. 28.
PETE Are you... PEGGY (interrupting) Yes. You have nothing to worry about. PETE Good. Can I get my jacket? Peggy motions towards her dress. They exchange clothing. Peggy covers up. Pete slides his arms into his jacket. PEGGY There’s something on your face. She rubs a smudge of her lipstick off his cheek.
INT. OFFICE BUILDING - LOBBY - NIGHT The elevator doors open on Peggy, now alone. She walks across the deserted lobby.
EXT. OFFICE BUILDING - NIGHT Rain cuts into puddles on the sidewalk. Peggy appears. She gazes at the night sky, letting the rain slap her on the face. She steps off the sidewalk and into a puddle, getting her feet all wet.
EXT. MANSION - NIGHT Freddie pulls the car to a stop, close to the gated front entrance of a large country mansion. The building is obscured by driving rain. A Gothic outline of jagged brick and mortar. A slab of imposing, architectural madness.
INT./EXT. FREDDIE’S CAR - SAME Don looks over his shoulder towards the gates. Two suited men, dressed in trench coats and hats, stand sheltered beneath black umbrellas. FREDDIE I’m not allowed to park at the house. I’m told it lowers the tone. 29.
Freddie grabs the garment bags. DON Who are they? FREDDIE Security. I told you that getting into this thing wasn’t going to be easy.
EXT. MANSION GATES - MOMENTS LATER Don and Freddie walk through the rain, towards the two suited men. TALL SUITED MAN Who are you? FREDDIE The piano player. TALL SUITED MAN What about him? FREDDIE He’s a friend of mine. SHORT SUITED MAN Sorry. No guests. You know the rules. FREDDIE Come on fellas, give us a break. I can’t leave him out here in the rain. TALL SUITED MAN (to Don) What’s your name? DON Don Draper. TALL SUITED MAN I’ll have to call up to the house first. Let me see your license. Don takes his license out of his wallet and hands it over. The tall suited man walks across to a booth behind the entry gates. 30.
FREDDIE (to shorter man) You mind sharing that umbrella? Don watches as the tall suited man talks into a telephone. He eyes Don, his hand cupped over the mouthpiece. After a brief conversation he hangs up the phone and returns. TALL SUITED MAN Okay. You can go up. As Don steps forward, the tall suited man stops him. TALL SUITED MAN (to Don) We need to pat you down first. DON Is that necessary? FREDDIE They’re just doing their jobs. Right fellas? TALL SUITED MAN Arms up. Don raises his arms and the man frisks him.
INT. MANSION FOYER - NIGHT An old, wiry male servant, AL, walks down the darkened stairway, holding a candlestick. He crosses to the front door and opens it on Don and Freddie. Both men are soaked through. AL Mr. Townsend. So good to see you. (to Don) You must be Mr. Draper. Please, both of you, come in from the cold. Al leads the way. Don comes to a set of double doors. The sound of ice tinkling in glasses, jazz music from a record player, people talking. AL Not that way please. There’s a room upstairs where you can both change. Don and Freddie follow Al up the stairway. 31.
INT. MANSION - UPSTAIRS HALLWAY - CONTINUOUS Al, Freddie, and Don arrive at the top of the stairway and are met by a ravishing middle-aged woman, COUNTESS OLENSKA. She is dressed in an evening gown with a yellow sheer beaded overdress -- straight out of the roaring twenties. AL You remember Mr. Townsend, don’t you Countess? OLENSKA Of course. How are you Freddie? FREDDIE Very well. This is my friend, Don Draper. OLENSKA Your friend here is quite the piano player. What’s your special talent Mr. Draper? DON Maybe I have more than one. OLENSKA Once you’re dressed why don’t you come downstairs and tell me all about it. (to Al) It’s a little dim downstairs. AL I’ll get more candles.
INT. MANSION GUEST ROOM - MOMENTS LATER Al places a candle on a nightstand. Freddie lays the garment bags on a bed. AL Can I get you gentlemen anything? FREDDIE Not right now. AL Very well. Al leaves, closing the door behind him. 32.
Freddie unzips his garment bag, unfurls a waistcoat, shirt, tie and tailcoat. DON How much money do these people have? FREDDIE The Olenskas are entrenched in the State, have their fingers in everything. They’re also paranoid and eccentric, as you probably figured out. (handing him a garment bag) Here, get changed. I’ll be right back. DON Where are you going? FREDDIE To the john. Don watches with fresh unease as Freddie leaves the room, quietly closing the door behind him. A needle is placed on an old phonographic record as we PULL BACK to reveal:
INT. MANSION DRAWING ROOM - LATER Hot biscuit jazz plays on the phonograph. A mix of men and women, about twenty guests in total, drinking and talking. The women are dressed in pleats, low-waisted dresses and have bob hairstyles. The men are all in tailcoats, their hair slicked back. The sights and sounds of a different time, all lit under candlelight. Seated in the corner of the room is the king of this little castle, Count Olenska. He has many lines on his face, each one suggesting a dark and different story. He watches in studied silence as his wife glides around the room, flirting with their guests. Al opens the door and enters. Freddie and Don follow behind him, both dapper in black tailcoats. 33.
AL (gesturing towards another set of doors) Shall we, Mr. Townsend? FREDDIE You lead the way chief. (beat) Hey Don, don’t do anything I wouldn’t do. They walk away, leaving Don alone. Olenska approaches Don from the other side of the room. OLENSKA You wear that suit very well. All the same, you don’t exactly look comfortable. DON I feel like I’ve stepped back in time. OLENSKA And what’s wrong with that? Nostalgia can sometimes be as potent as a pill. It means we don’t have to deal with the present. DON What if you’d rather forget about your past? OLENSKA There are other things that can help you with that. Shortly, Al returns. AL Can I get you a drink, Mr. Draper? OLENSKA Why don’t you get him a punch, Al. (to Don) This recipe has been in my family for years. I’m sure you’ll like it. Al moves over to a punch bowl, which is on a table close to the Count. OLENSKA You were telling me about your many talents. 34.
Don takes out a carton of cigarettes and offers one to Olenska. She takes one. Don lights a match for her. DON (re: Count Olenska) Is the man in the corner your husband or your father? OLENSKA You know us aristocrats. Maybe he’s both. (off his look) I’m sorry. I have a strange sense of humor. DON You say that like it’s a bad thing. Al returns with a glass of punch for Don. AL Mr. Draper. Don takes the glass. Al leans into Olenska and whispers something. OLENSKA Will you excuse us? DON Of course. Don’s eyes follow Olenska as she moves across the room and takes a place by her husband’s side. She taps on her glass with a silver spoon, calling the guests to attention. OLENSKA Ladies and gentlemen, I’m so happy that you decided to join us tonight. In fact, I’m more than happy, I’m thrilled. Some of you I know very well. Some of you I only just met. (beat) Al, please. Al opens the doors to reveal two shapely women in ornate masks. One wears a rabbit mask, the other a cat mask. They wear gold and black beaded dresses, both of which leave little to the imagination. 35.
OLENSKA Girls, please don’t be shy. Come here. That’s right, come over here. The two women walk over to Olenska and stand by her side. She takes them both by the hand. OLENSKA These two women are our gift to you. They’ve agreed to put on a show for us tonight. I think I speak for both of us, when I say that I hope it’s a show you enjoy. Don looks uneasy and drinks his punch. OLENSKA If you’ll please join me in the parlor. And help yourself to more punch. There’s more than enough to go around. A BEARDED GENTLEMAN with wide, bloodshot eyes turns to Don. BEARDED GENTLEMAN I feel like I could fly. Don’t you? DON Not yet. But as soon as I sprout wings I’ll let you know. BEARDED GENTLEMAN The way you’re drinking, it won’t be long. I’d slow down if I were you. Don smiles, taking an immediate dislike to this man. He looks over at the Count, who raises his glass slightly and nods. Don nods back. AL Ladies and germs, whenever you’re ready, we’ll proceed to the parlor.
INT. DRAPER APARTMENT - BEDROOM - NIGHT The face of a wall clock, which reads 2:15. Megan lies in bed, reading a magazine. A creaking noise. She looks up. It’s nothing. She places the magazine on her nightstand and switches the light off. 36.
INT. MANSION CORRIDOR - NIGHT Don follows the rest of the guests but breaks off at the last moment, unsure of what lies ahead. Al comes in the other direction, holding a candlestick. AL Are you lost Mr. Draper? DON No. AL This way, if you please.
INT. MANSION PARLOR - MOMENTS LATER Don enters the darkened room, lit only by candlelight. Freddie plays piano in the corner of the room. The guests are lined up in the middle of the room, forming a corridor and clapping their hands along to the music. At first Don thinks they’re clapping for him. But then Al leads him to the end of the line. The guests part, and the two women appear at the doorway, naked, except for their masks. They walk through the corridor of clapping hands and into the center for the room. Countess Olenska appears, holding a bowl of strawberries. She goes around the room, handing a few to each guest, and arrives by Don’s side. Olenska extends the bowl of strawberries. Don hesitates. OLENSKA No one’s allowed to watch from the sidelines. She pushes the bowl closer to him. He takes a handful. OLENSKA (to the cat girl) On your knees! Olenska gestures at one of the male guests. He moves towards the girls, clasping his strawberries. 37.
He disappears out of frame. After a few moments, everyone applauds. Don breaks out in a sweat, his legs turning to jelly. The piano emits strange, distorted sounds. Like it’s being played somewhere corrugated, somewhere over there. Don becomes aware that the other guests are waiting for him. OLENSKA It’s your turn. FEMALE GUEST Put them in! Someone shoves Don forward, as the cat calls continue: ”What are you waiting for!,” “Do it!,” etc, etc. The girl with the cat mask, on her hands and knees, tilts her head towards him. Her back is scattered with moles and drizzled in strawberry juice. Crushed fruit is on the floor, around her knees. The girl with the rabbit mask points between the cat girl’s legs. More a command than a gesture. Don shoves his strawberry’s somewhere out of frame. The other guests cheer as Don staggers forward, the room spinning, his right hand dripping with red strawberry juice. As he moves back to his spot, he glances across at Freddie. Freddie stares back. His eyes are dark pools, just like a rodent’s. Don loses his footing, grabs onto the shoulder of the man standing next to him for support. He turns to find Olenska standing next to him. She flashes a set of razor sharp teeth. Don’s eyes roll into the back of his head, and he collapses on the floor.
INT. PETE’S HOUSE - BEDROOM - NIGHT A sound jolts Trudy awake. Tammy cries. She climbs out of bed and slips into a silk nightgown. 38.
INT. PETE’S HOUSE - NURSERY - CONTINUOUS Pete is standing in the nursery. He cradles the crying baby in his arms and sings a soft, awkward lullaby. PETE Oh, where have you been, charming Billy? I have been to seek a wife, she's the joy of my life. She's a young thing and cannot leave her mother. Trudy, endeared, watches from the doorway. Pete lowers his baby daughter into the crib. PETE Did she ask you to come in. Billy Boy, Billy Boy? Did she ask you to come in, charming Billy? Yes, she asked me to come in. There's a dimple in her chin. She's a young thing and cannot leave her mother. Trudy rests her head on his shoulder. She looks down at the sleeping baby. TRUDY See, she does sleep sometimes. With the right medicine. PETE You’ll wake her. TRUDY Oh, doesn’t she look so darling though? So at peace? PETE Yes, she does. Pete smiles as Trudy nuzzles into his neck. TRUDY Why don’t you go to bed, get some sleep. I’ll make you breakfast in morning. Eggs Benedict, orange juice, coffee. PETE Sounds wonderful. 39.
INT. MANSION STUDY - NIGHT Don comes ‘round to find Freddie standing over him. FREDDIE Don? Don, his eyes like saucers, takes in his surroundings. A cloistered room, shelves lined with dusty books. Freddie sits on a sturdy chair, while Don lies on an ottoman. FREDDIE How do you feel? DON Different. The lights in the house are restored, exposing Don’s disheveled, drugged state. FREDDIE I was worried. You were out for awhile. Freddie helps Don to his feet. A painting on the wall -- an example of abstract expressionism. Don crosses over to the painting. His limbs hang off his body like weights. He’s an infant taking his first steps into a brave new world. He moves his trembling hand towards the canvas. He touches the colorful lines and squiggles, mesmerized. Seeing something only he can see. The sound of the door opening behind him. Don turns to find Freddie, impossibly, inexplicably, reentering the room. He never heard him leave. FREDDIE (smiling) I should have warned you about the punch.
INT. MANSION FOYER - MOMENTS LATER Don and Freddie come to the bottom of the stairway and are greeted by Al. 40.
FREDDIE Don here is feeling a little worse for wear. If it’s okay with you, we were going to leave. Olenska steps out of the darkness. OLENSKA Someone in your state of mind shouldn’t be wandering around in the middle of nowhere, Mr. Draper. (beat) Besides which, we need to clear something up before you both leave. More guests step out of the darkness, surrounding Don and Freddie. Fronts, collars and chins are stained with strawberry juice. The girls are nowhere to be seen. AL Gentleman, would you please raise your arms? Don is in no frame of mind to argue. He lets Al pat him down. Al nods at Olenska, indicating that Don’s clean. The servant turns his attention to Freddie, regards him coldly. Freddie radiates unease as Al checks his pockets, eventually producing a diamond necklace. OLENSKA Now, won’t you come play for us some more, Freddie? We’d love it if you would play. DON If there’s a problem here, maybe we should call the police. OLENSKA Mr. Draper, don’t be silly. Freddie stole from us. We’re within our rights to deal with the matter as we see fit. A couple of male guests take Freddie by the elbows and lead him away. Freddie, increasingly desperate, glances at Don, who is helpless to intervene. 41.
OLENSKA Will you join me and my husband for one more drink, Mr. Draper?
INT. MANSION DRAWING ROOM - MOMENTS LATER Don follows Olenska into the room. The Count is seated in the same armchair we last saw him in. Olenska moves across to the phonograph and places the needle on a shiny vinyl disc. She makes a couple of drinks, one for herself and one for Don. Don shakily places a cigarette to his mouth. He strikes a match but can’t connect it to the tip of his cigarette. OLENSKA Here. She guides the match for him. OLENSKA You shouldn’t have come here tonight. DON What will happen to Freddie? The Count moves towards Don. When he finally speaks, his voice is gravelly, aged by whiskey and cigars. COUNT OLENSKA The men who journeyed with him stood speechless, hearing a voice, but seeing no man. (beat) We each take our own road to Damascus. What was your journey from Saul to Paul? Don is caught -- muted in druggy terror. COUNT OLENSKA Stop asking questions of us, we’ll ask no more questions of you. DON Can I go now? COUNT OLENSKA No one’s forcing you to stay. 42.
EXT. MANSION - PREDAWN Don comes to the front gates. The suited men are nowhere to be found. He opens the gates and exits onto the road, walks to Freddie’s car. He tries the doors. They’re locked. Don looks up and down the desolate road.
EXT. SOMEWHERE IN N.Y. STATE - FIELD - MORNING Lush, green and rolling. Sprinkled with multicolored flowers. Greenery clings to a fence in the middle distance. An uneven stretch of road beyond. Don appears, his tailcoat slung over his shoulder, looking buoyant and relaxed. His shoelaces are loose, his black leather shoes are spoiled with dew. His eyes are wide and full of wonder. He’s like a child. Everything is brand new again, anything is possible. Don walks down the hill, crouching to look at some dandelions. He hears something snort behind him. A magnificent bull. It drags its feet in contemplation of what? A bluff attack maybe? Don holds his ground but the bull seems to lose interest. It begins tearing spears of grass off the ground with its teeth. Don moves closer to the animal. He gently strokes its hide, staring out at the landscape. DON I get it. I understand now. A deep, rumbling sound. Don looks around, confused. The bull grunts, defecates an avalanche of dung.
INT. SCDP - CREATIVE LOUNGE - MORNING Megan cuts a page out of a magazine with a craft knife. Peggy enters, holding a folder. PEGGY Have you seen Don? I wanted to run this by him. 43.
MEGAN He didn’t come home last night. PEGGY Are you okay? MEGAN I’m okay. It’s just, he’s never done this before. Peggy says nothing but her expression says: ‘Oh yes, he has.’
INT. PETE’S OFFICE - DAY Pete is seated on his sofa, reading “Advertising Age” magazine. Peggy arrives at his open door. PEGGY You look well rested. PETE I slept five straight hours last night. I feel like a new man. PEGGY You look like one. PETE I have you to thank for that. (off her look) The lullaby. It worked like a charm. PEGGY (not in the least) I’m glad for you. Peggy hands him the folder. As Pete takes it, their hands meet. PEGGY My Dove pitch. PETE Thanks. But why are you giving this to me? PEGGY Don’s missing. Pete blanches as Peggy walks out of the room. 44.
INT. BULLPEN - LATER Pete meets Roger, who still in his coat and hat, has just arrived. PETE Don’s gone AWOL. Nobody knows where he is, not even his wife. ROGER Christ, Campbell. You never hear about good news, bad news? PETE He didn’t go home last night. ROGER He’s probably in a hotel room sleeping off a hangover. He’ll show. PETE How can you be sure? The last time he pulled a stunt like this, he was gone for over a month. ROGER He’s a partner now. PETE Well, that puts my mind at ease. Don put Peggy Olson to work before he left last night. Here’s her work. Pete extends a folder but Roger lets it just hover there. ROGER That could be a Walt Whitman poem. Without Don, it’ll sink like a cool souffle. PETE Then what should we do? ROGER There’s nothing we can do. We just dive in and hope we don’t drown.
EXT. ROADSIDE - DAY Don, still high, walks by the side of the road, smoking a cigarette. 45.
A spluttering engine breaks the silence. Don sees a pick-up truck moving towards him. He waves his arms. The truck rumbles by. At the last moment it comes to a stop, farther down the road. A door opens. Don walks up to the truck and jumps inside.
INT. SCDP - LOBBY - DAY Roger and Pete greet Hathaway and Henry in the lobby. COMMANDER HATHAWAY No Draper? PETE Unfortunately he’s been taken ill. ROGER A kidney stone. It’s a terrible thing. More painful than childbirth. Or so I heard. PETE He told us to forward his apologies. So, shall we get down to business? Hathaway radiates disapproval.
INT. HOTEL ROOM - DAY Don walks to the window, looks down at Central Park below. He closes the curtains and flops, fully clothed, onto the queen-sized bed.
INT. SCDP - CONFERENCE ROOM - DAY A spread of Danish pastries, coffee, orange juice, and a jug full of Bloody Mary. Henry pours Hathaway a cup of coffee, stirs in cream and sugar. Peggy at the plate. Stan displays the artwork. PEGGY It doesn’t matter if you’re Liz Taylor, Janis Joplin, a secretary, or a college student. (MORE) 46. PEGGY (CONT'D) The times may have changed, but Dove still cares for your skin the way it always has. No matter where you came from... Or where you’re going. Stan reveals the new art: an attractive girl with a bob. Her eyes are closed and her palms are resting on her cheeks. PEGGY With Dove, you’re always young. Our moisturizers leave your skin soft and smooth... Change from soap to Dove. Lane, Pete, COPPER and Roger look on. ROGER Simple but elegant. Hathaway remains silent. PETE Don signed off on this. COMMANDER HATHAWAY With a kidney stone traversing its way down his urinal tract? (beat) The hive mind may win wars, it may even sell products. But that’s not why I brought my project to this agency. PEGGY Why did you come here? A deathly silence. Finally, Hathaway stands. COMMANDER HATHAWAY Good day gentlemen. I think we’re done here. ROGER There’s no need to break up the party, Commander. The supporting cast has its charms. PETE When Don recovers, maybe you’ll visit us again. COMMANDER HATHAWAY I don’t think so. 47.
LANE Let me show you out. Lane ushers Henry and Hathaway out of the room. ROGER Probably more trouble than he’s worth. COOPER We’ve had more difficult clients who were worth a great deal less. (to Peggy) And you. What were you thinking? Peggy says nothing. She’s cowed, but also rattled by the injustice of it all. Roger, Cooper and Lane leave the room. Peggy stops Pete. PETE He’s right, you know. You can’t take that tone with our clients. PEGGY No. I wanted you to know, I agree with you. PETE Good. I’m glad we’re on the same page. Pete leaves Peggy alone in the room. She glances at the mock- up. CLOSE ON the modern girl in the picture.
INT. HOTEL ROOM - DAY Don sleeps in the dark. ANNA (O.S.) Dick, wake up. Don opens his eyes. ANNA in the shadows, seated in an armchair. ANNA I was watching you sleep, Dick. You always look so peaceful when you’re asleep. 48.
DON I miss you. ANNA I know you do. Don stands and opens the curtains. The sun is already setting behind Central Park. Don turns. No sign of Anna.
INT. NIGHTINGALE’S CLUB - NIGHT Don, dressed in a brand new suit, his hair slicked back. He sits at the bar, smoking a cigarette. BARTENDER Get you another? DON Whiskey neat. Where’s the piano player? BARTENDER Freddie? DON That’s him. BARTENDER He didn’t show. Between you and me, it’s not the first time. You a friend of his? DON Something like that. You have a number for him? BARTENDER I don’t. But if you like I can tell him you were asking after him. Who are you? Don says nothing. BARTENDER Hey, I’m sorry I asked. I’ll get your drink. DON Please. 49.
The bartender walks to the other end of the bar, leaving Don in a cloud of uncertainty.
INT. DRAPER APARTMENT - LIVING ROOM/KITCHEN - NIGHT Megan, dressed in a nightgown, finds Don, illuminated by the light from the open refrigerator. MEGAN They all want to know where you are. DON What did you tell them? MEGAN I told them the truth. Where were you? (beat) You can tell me... Whatever it is. You can trust me. DON Is it okay if we talk about it later? MEGAN Let me get you a drink. Don takes a seat at the table. Megan brings him a beer. As Don drinks, she reaches over and takes his hand. MEGAN I was worried. Don says nothing.
INT. PETE’S HOUSE - NURSERY - NIGHT Tammy cries hard, choking on snot and tears. Pete lifts her out of the crib, resting her on his shoulder. He hums the ‘Billy Boy’ lullaby. After awhile, it works its magic. Tammy begins to fall asleep. Pete lays her back down into the crib and tip-toes back across the room. He’s almost at the doorway when -- Tammy fills up her lungs, ruining the silence with her cries. 50.
PETE (almost insulted) Cry then. Cry all you want.
INT. KITCHEN - MOMENTS LATER Pete takes a bottle of formula out of the fridge, placing it on the counter. He uncorks a bottle of whiskey, pours a healthy measure into a cut glass and knocks it down in one. Leaving the whiskey uncorked, he takes the untainted formula and leaves the room.
INT. DRAPER APARTMENT - BEDROOM - NIGHT The faint strains of jazz piano. Don sits up in bed and turns to Megan, who is fast asleep.
INT. DRAPER APARTMENT - LIVING ROOM - MOMENTS LATER Don is now in his dressing gown. The ornate cat mask lays on the ottoman. Don leans down and touches it. Don turns to find Freddie dragging his crippled leg along the floor. FREDDIE You left me. Freddie lifts his cane, pokes Don in the chest. FREDDIE Why did you leave me, Don? Don places his hands to his chest as we,
INT. DRAPER APARTMENT - BEDROOM - SAME Megan shakes Don back to reality, pressing her hands down onto his chest. She strokes his hair back over his scalp. MEGAN You’re all sweaty. 51.
He kisses her. She holds him tight, wanting him, needing him now. He runs his hands up over her naked body, hungry for her too. They begin to make love. MEGAN Who’s Freddie? That gives Don pause. But only for a moment. He slides down beneath the covers. Megan bites her bottom lip and moans.
EXT. MANSION - DAY Don stops his car by the side of the road. He gets out of the car and walks to the spot where Freddie parked. No sign that the car was ever there. Not even tire tracks in the mud. MANSION GATES A rusty chain and padlock wrapped around the wrought iron gates. Don peers through the slats. THE MANSION Shuttered windows. No sign of life. The front lawn is unkempt and overgrown. Strangling ivy runs over the crumbling facade of the house. In the cold light of day the house almost looks derelict. Don stays rooted to the spot, wondering what to do next.
INT. SCDP - DON’S OFFICE - DAY Don pours himself a glass of whiskey. Peggy appears at the open doorway. PEGGY You were missed. DON I was just looking over your work. PEGGY I could have used your help. He didn’t bite. 52.
Roger, Lane and Pete file in. The disciplinary committee has arrived. LANE Miss Olson, would you excuse us? DON She can stay. PETE We lost Lever Brothers. DON I know. PETE That’s all you can say? Where the hell were you? DON Peggy’s work speaks for itself. If he doesn’t get that, he’s more stupid than he looks. PETE Maybe we should make her creative director. LANE Lever Brothers would have helped all of us, Don. PETE Your behavior is erratic and irresponsible. Pete storms out of the room. DON Are we done here? ROGER I hope your night was worth it. Roger and Lane walk away. A pause. PEGGY We have the Topaz Panti-Hose meeting at three. (beat) Door open or closed? DON Closed. 53.
Peggy leaves, closing the door behind her. Don moves over to the window and looks down at Midtown. People and cars are dots on the road below, dwarfed by office buildings. New Yorkers go about their business. Everyone is trying to get someplace, everyone has a story. He places the glass of whiskey to his lips, taking it all in. FADE OUT.