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Mad Men Lullaby Spec.Fdx Script 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.
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