Camelot - Mad Men spec

7/29/2019 Camelot - Mad Men spec

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"CAMELOT"SPEC SCRIPT FOR "MAD MEN"

Written byMarly Kurtzer

April 29, 2008

Marly [email protected]


2/58

ACT I

INT. DRAPER HOME - LIVING ROOM - NIGHT

DON and BETTY are watching the Ed Sullivan show. Their kids,SALLY and BOBBY, lie on their bellies on the rug.

On screen, Robert Goulet sings "If Ever I Would Leave You"from the musical "Camelot."

GOULET (ON TV SCREEN)If ever I would leave youIt wouldn't be in summer.Seeing you in summer I never wouldgo.

BETTYI hear Julie Andrews is fabulous asGuenevere.

DONShe's miscast. Didn't she cheat onKing Arthur with--?

BETTYDon, the kids!

DONIt's over their heads. Anyway,she's too pure for that part.

Sally turns to Don.

SALLYI know pure. Ivory soap is 99 and44/100% pure!

BETTYLittle pitchers have bigears.

DONSpoken like an admansdaughter.

Bobby rubs his eyes, prompting Betty to look at her watch.

BETTY

It's past SOME PEOPLE'S bedtime--

SALLYJust a little longer, Mommy!

BOBBYPretty please?!

DONYou can listen to the rest of thesong.

CONTINUED


3/58

BETTYDon, they have school tomorrow.

DONIt'll be fine, Birdie. I'll putthem to bed.

The kids clap their hands. Sally sits on his lap and Bobbysqueezes next to Betty. She lights a cigarette.

GOULET (O.S)If ever I would leave you,How could it be in spring-time?Knowing how in spring I'm bewitchedby you so?Oh, no! not in spring-time!Summer, winter or fall!No, never could I leave you at all!

Robert Goulet finishes his number.

BETTYHe really is a perfect Lancelot.What a voice! Too bad its soldout. That was just--

DON--Extraordinary. I agree. Allright, bedtime. Run along now.

The kids walk out.

BETTYMake sure they brush their teeth.

DON(to kids)

Daddy'll be right in. Putting kidsto bed is not rocket science,Birdie.

Don walks to the kids' room.

BETTY

--No, of course not.

She reaches out to stub the cigarette out and narrowly missesDons wallet. She turns off the TV and scans the room. Shesees Dons jacket, picks it up and goes through the pockets.She brings it to her nose, looking for traces of perfume.

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INT. DRAPER HOME - KIDS' ROOM - CONTINUOUS

Sally is in bed, while Bobby bounces on his. He rushes underthe covers as he hears Don approach. Don sits on Sally's bed.

SALLY

Daddy, what is extra-extra--?

DONExtraordinary. Like a hero. Someonewho goes out into the world,tilting at windmills --

He sees the kids confused expressions.

DON (CONTD)--And slays dragons and monsters.

BOBBY

Are you a hero?

DONWhy do you say that?

SALLYSilly, Daddy's an adman!

Bobby scratches his head.

BOBBYI can add! One plus one--

SALLYYou dope, thats not it!

BOBBYHow should I know what he does--he's never home!

DONIm here now, arent I?

Sally sighs.

SALLYYes... BOBBYMommy says you might as wellbe invi-invi--

(to Sally)Whats the word again?

Don winces.

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SALLYInvi--sible.

Don doesn't answer.

EXT. GRAND CENTRAL TRAIN STATION - MORNING

Train doors open and businessmen in suits and hats spill outon their way to work.

Don crosses the platform and enters a phone booth.

INT. PHONE BOOTH

He fishes for a coin and dials.

SECRETARY (V.O.)Miss Menkens office.

DONDon Draper here.

Theres a pause on the other line.

SECRETARY (V.O.)Shes still away, Mr. Draper.

DONDo you know when shell be back?

SECRETARY (V.O.)No, Mr. Draper.

Don hangs up.

EXT. MANHATTAN BUILDING - MORNING

A modern skyscraper gleams and we cut to:

INT. STERLING COOPER - CONFERENCE ROOM - MORNING

BERT COOPER and ROGER STERLING are seated around theconference table, a breakfast spread before them.

COOPERWell, I dont know what could bekeeping--

Don enters.

COOPER (CONTD)There he is.

ROGERThe man of the hour.

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COOPER (CONTD)You are more than your job, cowboy.We all are.

ROGERBert, without my job I dont know

who I am. And going back to who Iused to be... Its an illusion.

COOPERYou must neither strive for truthnor seek to lose your illusions.

Don and Roger take this in.

COOPER (CONTD)Its from the Shodoka, the JapaneseSong of Enlightenment.

DONThats not on Rogers hit parade,Bert.

Cooper laughs and Roger regains his old bonhomie.

ROGERHey, I can always take up knitting.The ladies always did say I wasgood with my hands.

He laughs at his own joke.

COOPERLets get down to business,gentlemen.

DONBert brought in a novel account.Sony Corporation.

Roger looks blank.

COOPERIts a small Japanese company.

Builds electronics.

ROGER(looks dubious)

Huh.

COOPERI know. Japanese products are notknown for quality.

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(MORE)

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But I have a feeling about thisone. Don, show him.

Don takes out a small, brightly-colored TRANSISTOR RADIO.

ROGER

That come in a Crackerjack box?

Don turns it on and music filters in.

COOPERThe Sony 610.--

DON--Its a transistor radio.

Roger examines it.

COOPER

Fits in your pocket. Its forlistening to the rock and roll.

ROGERDoesnt Texas Instruments makethese?

DONSure. But they usually target theindustrial market. And it shows.Their stuff is clunky, drab. Asmuch fun as a vacuum cleaner. Sonyis aiming for the young. You saidit yourself, it feels like a toy.Nice colors--

COOPER--It comes in black, ivory,red and green.

DON--Sharp design. Andadolescents cant livewithout their music.

Roger places the radio back on the table.

ROGERTell me about it. Margaret will be

bugging me for one for Christmas.And itll fall apart by New Years.

Cooper picks it up and holds it up to his ear.

COOPERCaught the game between Ohio Stateand St. Bonaventure on it.--

7.

CONTINUED: (3)COOPER (CONT'D)

CONTINUED


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ROGER--The Buckeyes creamed them!

DONSo much for being undefeated.

COOPER(tapping radio)

Didnt miss a thing! Face it,

Roger. Its a winner.

Don holds up a prototype of the print ad.

ROGER (CONTD)(reading)

With Sony, you got the world inyour pocket.

COOPERAnd, the piece de resistance--

From a box, Don pulls out a SMALL TV SET.

ROGEREverythings getting so small, Ifeel like Godzilla!

(beat)Hows that for an ad campaign?

COOPERHighly inappropriate for a Japanesecompany.

Don and Roger laugh. Cooper joins them.

INT. STERLING COOPER - PETE CAMPBELLS OFFICE

HARRY, PAUL, PETE, KEN and SALVATORE, young men in theirtwenties, peruse a magazine with a photograph of Sammy Davis,Jr. and his new bride, Swedish actress May Britt.

PAULHes got one eye, hes short, hesCOLORED, for Gods sake... What thehell does she see in him?

SALVATORE

I hear our darker brethren haverather sizable endowments

PETE--But hes a himey so they snippedat least ten percent off theoriginal.

They all laugh and slap each other on the back.

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KENAnyway, Miss Britt is notinterested in being the smile ofPerldent--

Salvatore packs up a a drawing of an ad featuring a toothy

May Britt selling a toothpaste called Perldent.

SALVATORENow that shes married, why work?

HARRYTheir marriage is technicallyillegal in 31 states.

PAULBah, his moneys good in all ofthem. Thats the only endowmentwomen need.

Ken glances over at Pete.

KENAnd some men too--

PETEWhat are you referring to?

HARRYNow dont get hot under thecollar-

PAUL--I would be too if women didall the heavy lifting for me--

A flustered Peggy comes in.

PEGGYI'm sorry I'm late. Someonethrew himself on the traintracks--

KENCase in point.

PEGGY--Excuse me?

PETE(hissing, to Peggy)

You keep me waiting again andyoull be back taking steno--

PEGGY--Dont talk to me like that.

SALVATOREWell, I sure could use a drink.

9.

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11/58

PETEThis is MY account.

PEGGYIm the copywriter on it. DonDraper assigned it to me. And if

Im not mistaken, you still haventsnagged his job.

SALVATOREWell, Peggy, I think you justgraduated from Shirley Temples toScotch on the rocks.

Ken pats Peggys head.

KENMake Pete look good in front ofDaddy Warbucks.

Harry, Paul, Salvatore and Ken leave.

INT. STERLING COOPER - BULLPEN - -- CONTINUOUS

Don and Roger leave the conference room.

ROGEREverythings running smoothly. Iapologize about...

Don raises his hand.

DONWe had a tough couple of monthswithout you.

Rogers eye gleams as HILDY and ALLISON, two pretty youngsecretaries, walk by.

ROGERIts been a harsh winter.

HILDYGood to see you, Mr.

Sterling.

ALLISONGood morning, Mr. Sterling.

Roger tips his hat.

ROGER (CONTD)Ladies. I miss it here.

DONWe miss your leadership.

10.

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CONTINUED


12/58

Rogers gaze trails after the women.

ROGERYou cant get good tail in thesuburbs, Don. Its a fact.

DONYoure probably... overlydiscerning.

ROGERBelieve it or not, its the men Imiss the most. Sitting across froma bunch of guys and... battingideas around. Creating somethingtogether. Closing a deal andcelebrating over drinks. Thecamaraderie! Cant beat it, Don.

He looks around.

ROGER (CONTD)Wheres Joanie?

DONShes probably showing my newsecretary the ropes.

ROGERProbably just as well. The oldticker cant handle all thosecurves.

(sighs)And I never got a chance to takeher to Cuba.

DONToo late now. Unless you want tostart your own Yankee invasion.

ROGERGoes to show you. One minutetheyre calling you amigo, thenext youre an imperialist invader.

Although, of course, I did invadequite a few Cuban girls myself...

DONYoull always have the Tropicana.

Roger puts on his coat.

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13/58

ROGERBy the way, good job on Menkens.Mona took Margaret the other dayand came away impressed. She evengot a chance to speak with RachelMenken.

DONReally? Rachel? She saw Rachel?

ROGERTotally coincidental. Met her thatsame day. She sang your praises.

DONRachel?

ROGERMona.

INT. DRAPER HOME - KITCHEN - CONTINUOUS

Betty makes coffee as Francine flips through a fashionmagazine. She holds up a picture of John F. Kennedy withJackie.

FRANCINETheyre both so glamorous, it makesme sick. Personally, I preferpoliticians like Eisenhower. Oldand dependable, like your favoriteuncle.

Betty pours two cups of coffee.

BETTYEisenhower made me feel safe. Iread there are a thousand Sovietdelegates in Cuba now. And Godknows how many Soviet weapons--

FRANCINE--The nerve! Calling our embassy anest of spies! I wish we could

afford a bomb shelter. Kennedystoo inexperienced.

BETTYI voted for Nixon,just like Don.

12.

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14/58

FRANCINEA five oclock shadow only a mothercould love. The mother of agangster anyhow.

BETTY

He did look a little shady.

FRANCINEYou know who I bet is shady?

Francine holds up JFKs smiling face again and points at it.

FRANCINE (CONTD)A young, handsome, powerful man? Ibet women cant keep their handsoff him--

BETTY

--I hate him! I feel guilty sayingthat about our next president.

Francine sets the magazine down.

Betty turns it so she can look at it better.

BETTY (CONTD)I read his wife speaks fluentFrench. Shes always beautifullyturned out. Not a hair out ofplace.

FRANCINEMaybe if I hadnt been pregnant,Carlton wouldnt have--

BETTYShush. Dont think like that.

(frowns)Anyway, do you know she was a girlreporter? Thats how she met him.Through work.

FRANCINE

You met Don through work.

They smile at each other, letting the discussion slide.

FRANCINE (CONTD)Speaking of which, with Donspromotion, dont you think yourwardrobe deserves a touch-up?

13.

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15/58

INT. STERLING COOPER - DONS OFFICE -- LATER

Don sits at his desk, writing. He adjusts his cuffs and thentakes off his right-hand cufflink. Its a miniature knighton horseback -- a gift from Rachel Menken.

He picks up the phone and dials.

SECRETARY (V.O.)Miss Menkens office.

DONIts Don Draper again. Listen, Ihappen to know shes back--

SECRETARY (V.O.)Please hold.

MR. MENKEN

Menken here.

Don hangs up. He lights a cigarette and broods.

Theres a knock at the door.

DON(irritated)

Dammit, wheres my secretary?!

The door opens and DUCK PHILLIPS enters with Paul, Salvatore,and Ken trailing behind.

DUCKExcuse us, Don, I didnt thinkyoud mind if we popped in a fewminutes early--

Don looks at his watch.

DON--Sorry, gentlemen, lost track oftime. Been chasing inspiration allmorning. I get cranky when thathappens. Take a seat.

Duck sits in an armchair and Ken and Paul on the sofa. Paulsets a manual typewriter case on the coffee table. Salvatorearranges his drawings on an easel.

Don walks to the credenza where he stores his liquor. He isabout to pour himself some rye but stops:

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16/58

DON (CONTD)Id offer you a drink but--

He holds up the empty rye bottle.

DUCK

New girl, huh?

Don sighs and hits the intercom on his desk.

SECRETARY (V.O.)Yes, Mr. Draper?

DONCould you please find a bottle of --

He looks at Duck quizzically.

DUCK

--Whiskey.

DON--Whiskey.

SECRETARY (V.O.)Yes, Mr. Draper. Im sorry--

DON--Dont apologize. Oh, and dontforget...

(to the men)...the ice. Shes gone.

SALVATORENot too swift, that one.

DUCKYou shouldve kept Peggy. A womanshouldnt get the notion she can doa mans job...

KENPeggy can write better than a lotof guys.

DUCK...Bad enough they can vote! Firstgood-looking man who runs forpresident, they vote him intooffice.

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17/58

PAULHe won over a sizable chunk of themale population as well.

SALVATOREExudes refined masculinity.

DUCKIf his father hadnt pulled somestrings in Illinois, Kennedywouldnt have stood a chance.Sterling Cooper ran a helluvacampaign, though.

KENNixon was a goner the minute theytelevised that debate...

DON

Talk about flop sweat. Gillettewouldve made a killing if theydsponsored it!

SALVATOREToo bad the folks at Schwerinwerent psychic!

They all laugh. Don shakes his head.

DONEver since the advent of thatlittle box, the world comes rightinto your living room.

PAULYou cant stop it.

DONMy kids are getting all sortsof ideas.

DUCKA mans home is no longer hiscastle. I hear you.

DONIts not just the television. Know

what theyre teaching Sally atschool? Duck and cover. In case ofa nuclear attack, shes supposed tohide under the desk.

SALVATOREThose desks better be made ofKryptonite.

16.

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CONTINUED


18/58

PAULI read the Cuban papers areprinting photos of kids declaringtheyre going to kill Yankees withtheir toy revolvers.

DUCKParadise lost.

KENWe get Vegas, the Soviets getHavana. Talk about a raw deal.

The pretty new secretary, EDIE, enters, brandishes thewhiskey bottle and walks swiftly to the bar. She turns toDon.

EDIEHow do you take it?

DONTheres no ice. Well take it neat.

Dismayed, she almost drops a glass.

EDIESorry, Mr. Draper.

DONIts your first day. By the way, Iprefer rye.

EDIEOn your sandwich?

Don is poker-faced but Ken and Salvatore guffaw.

DONRye as in the drink.

Edie nods several times as she hands them their drinks.

EDIEIll make a note of it.

KENLooks like you could use a drinkyourself, honey!

She hurries out. Don looks toward the typewriter as Paultakes it out of its case.

17.

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CONTINUED


19/58

DUCKBertorelli Writing Machines.

DONWhat can you say about a typewriterthat hasnt been said before?

KENI sit in front of one and I feellike Norman Mailer--

PAUL--You know that party where hestabbed his wife? I was there.

DONReally? You ever get your penknifeback?

The others laugh.

PAULIm serious--

DON--Im interested in your work,Paul. Not your criminal activities.

KENBetter not tell him about themarijuana cigarettes, then.

Don and Duck raise eyebrows at Paul.

PAULI prefer my tobacco straight up.

Don and Duck laugh.

DUCKYou artistic types...

Ken leans in and types.

KENThat sound. Nothing like it.

Salvatore unveils a drawing as Paul begins.

PAULRhythmic. Fires up your brain. Thebest thing about a typewriter isjust that.

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(MORE)

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20/58

It sparks your creativity. Makesyou feel like your great Americannovel can just type itself. Andsince this one is so lightweightyou can take it anywhere. Becauseyou dont know where inspiration

will strike. Hence the name. TheMuse 45.

DONThe Muse 45, huh?

SALVATORELike the gun.

PAULGreat ideas are dangerous.

Duck guffaws appreciatively.

DONI like that.

SALVATORELet us be your muse.

They all wait for Dons reaction, which is slow in coming.

DONIts all right.

Paul is deflated. Ken shrugs.

Don walks over to the window.

DON (CONTD)You feel about a typewriter, theway I feel about a car. Like Im onan open road. And I can goanywhere.

KENLike you can escape, you mean.Leave everything behind.

DONInto a brand new life.

DUCKI know the feeling.

PAULWritings like that. An escape. Anadventure, full of possibilities.

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21/58

KENOn a good day.

Don suddenly springs into action.

DON

You guys remember that VW ad?--

SALVATORE--Think small?

DON--What was striking about it?

KENThe humor.

SALVATOREIt was visual.

PAULSimple but packed a punch.

DONTraditional product, off-beatperspective... Equals somethingfresh.

SALVATOREI could play with the composition.Tinker with the perspective. Lotsof negative space. Kind of like anopen road.

Don sits on chair and hits a typewriter key.

DONSure touch. Deft handling. Sleekdesign. Takes you places a carnever will. The Muse 45.

INT - PETES OFFICE - CONTINUOUS

Peggy opens the door to leave.

PETEHey, Peggy?

She stops. He stands and walks up to her. He looks her up anddown then adopts a kind manner.

PETE (CONTD)Peggy, since this is our baby--

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22/58

Peggy almost gasps and stiffens.

PETE (CONTD)--This project. Anyway, given yourBrooklyn accent--

PEGGY--I dont have -- I dont think Ihave--

PETE--Actually you do. Slight butnoticeable. Which is why I shouldpresent.

She is confused.

PETE (CONTD)So far your approach is not very

fresh.

PEGGYWell, working with you... I thinkwere both... We dont work welltogether.

Pete comes closer.

PETEYoure really hung up on me, arentyou?

PEGGYDont flatter yourself.

PETEI thought wed agreed to letbygones be bygones.

PEGGYI just want to do my job.

PETEMaybe youre not cut out for the

more cosmopolitan aspects of thisbusiness. Too bad Don has taken youunder his wing--

Peggy suddenly realizes Pete is jealous of her:

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23/58

PEGGY--You cant stand that, can you?Ill handle my own presentations.Thanks.

PETE

Men dont like ambitious women,Peggy. You do want to catch ahusband someday, dont you? I mean,one of your own.

She turns and slams the door...

INT. STERLING COOPER - BULLPEN - CONTINUOUS

...exiting to the main office and causing everyone to lookup. Harry, Ken, Paul and Salvatore interrupt their cigarettebreak.

HARRYWhats the matter with her?

SALVATOREThey keep it up and one is going toend up in the Hudson by spring.

PAULMy moneys on Pegs.

Edie sashays by. Ken and Paul shoot her appreciative looks.

Paul takes out a five dollar bill with a flourish.

PAUL (CONTD)Bring back her panties and thisfive is yours.

They shake hands.

KENTimes a wasting.

He runs after Edie, with Paul at his heels.

HARRYArent you going to put in a claim?The new girl is cute.

SALVATOREShes not my type.

HARRYWhat IS your type?

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24/58

Salvatore is taken aback but Harry barrels right past it.

HARRY (CONTD)Listen, Jennifer has a friend fromwork... Lina. A real nice girl. Idont mean nice as a euphemism for

homely.

Salvatore nods stiffly.

HARRY (CONTD)Anyway, Jennifer asked if I couldintroduce someone to Lina. Youknow, maybe the four of us could gohave drinks, see how it goes?

Salvatore looks flattered and confused.

SALVATORE

What about the other guys?

HARRYShes my wifes friend. Shes anice girl.

SALVATOREWho knew you were so paternal?

HARRYWhat do you say? Shes very GinaLollobrigida.

SALVATORESure.

HARRYHow about Friday? Gerdes Folk City-

Salvatore hesitates.

HARRY (CONTD)--Or maybe the Village Gate?

SALVATORE

Lollobrigida and jazz. How could Isay no?

Harry slaps him on the back and walks happily away.Salvatores face telegraphs his discomfort.

23.

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25/58

EXT. MANHATTAN STREET - AFTERNOON

Business-men and secretaries pour out of buildings, homeward-bound.

INT. MIDTOWN MANHATTAN BAR - LATER

Don sits at a bar among other businessmen. A PRETTY BRUNETTEflirts with him but he looks away. He downs his drink.

INT. LUXURY BUILDING HALLWAY - NIGHT

Don knocks on a door. It opens and RACHEL MENKENs eyeswiden.

DONIts harder to get near you than tothe Mona Lisa.

She hesitates. A MIDDLE-AGED COUPLE get off the elevator andthe WOMAN glances curiously at Don.

Rachel stands aside and lets him in...

INT. RACHELS APARTMENT

She keeps her distance and takes out a cigarette. Don goes tolight it but she pointedly lights it herself.

RACHELYou should be home with your wife.

DONI had to bribe the doorman to letme up.

He stares into her eyes but she evades his gaze.

DON (CONTD)Did you really have to tell yourfather about us?--

RACHEL--Don, I had to--

DON--Really? It wasnt a shiningmoment in my career.

RACHEL--You were not the best thing formy career, either, Don.

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26/58

DON--I didnt appreciate Cooperchewing me out as if I were a...lovesick boy. When I asked you toleave with me, you wouldnt--

RACHEL--You were being impulsive!

DON--You sure left in a hurry.

He paces, agitated.

RACHELI didnt have the luxury of time!

DONOh, really? Why not? What was your

rush?

RACHELKeep your voice down.

DONOh, thats right, I forgot. This isthe Upper East Side.

RACHELPlease leave.

He grabs her wrist.

RACHEL (CONTD)Don!

DONYoure holding out on me.

RACHELSo, youre going to beat it out ofme?

He lets her go.

DONWhy did you go?

RACHELI had business overseas.

DONWhat kind of business?

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27/58

RACHELPersonal.

DONPersonal? What is it, another man?Finally found your knight in

shining armor?--

RACHEL--How dare you?

DON--You left so suddenly. Was it loveat first sight?--

RACHEL--Don, I didnt have much time!

She stops, visibly upset. He slowly gets it.

DONWhy didnt you tell me?

He holds her. She stiffens.

RACHELYou already have a family, Don.

She rebuffs him. He tries to embrace her again but she pusheshim away. They stare at each other and he finally leaves.

She leans against the door, then crumples on the floor andsobs.

INT. STERLING COOPER - DONS OFFICE -- NIGHT

Don lies down on the couch, clutching a shot glass. He sitsup and pours the last drop of rye. He drinks it then lets goof the glass, which shatters on the floor. He passes out.

INT. PEGGYS ROOM -- NIGHT

Peggy sits on her bed, listening to a record, while jottingdown notes. Her roommate knocks on the door.

PEGGYCome in.

MARJORIE comes in, hands Peggy an envelope.

MARJORIEYou got a letter from the hospital.Are you all right?

26.

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28/58

PEGGYIm fine.

(covering)Probably the bill for thatemergency appendectomy back inNovember.

MARJORIEYou didnt tell me!

PEGGYIt was such an unpleasant surprise.

MARJORIENo wonder you were so stressed.

PEGGYIve had better holidays.

Marjorie is about to turn away when she remembers:

MARJORIEOh, were going to see Where theBoys Are on Saturday. Care to joinus?

PEGGYCant. Im babysitting for mysister.

MARJORIEBoy, your sister didnt show atall! Didnt gain an ounce!

(snorts)You, on the other hand... its likeyou gained all the weight for her!

Peggy narrows her eyes at her.

FADE TO BLACK

INT. STERLING COOPER - BULLPEN - MORNING

Betty and Francine come through the glass doors. Betty eyes

all the attractive YOUNG SECRETARIES anxiously. JOAN, thevoluptuous office manager, recognizes Betty and headsstraight to them.

FRANCINEOh, my God! Id feel invisible ifmy husband had to stare at that allday!

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29/58

Betty flinches but covers it as Joan reaches them.

JOANHello, Mrs. Draper. Is Mr. Draperexpecting you?

Betty smiles but looks guarded.

BETTYI thought Id surprise him. This isMrs. Hanson.

Joan nods at Francine and notices Betty is jealous.

JOANHell be delighted to see you.

BETTYWheres Dons new girl?

JOANShes probably in the bathroomcrying. First week. Ill tell himyoure here.

Joan buzzes Don on the intercom.

INT. STERLING COOPER - DONS OFFICE -- CONTINUOUS

Don ignores the intercom, intent on eluding Ducks question.

DON--Id have to ask my wife, Duck.And Ill get home late so--

Theres a knock at the door.

DON (CONTD)Dont you have to master theintercom before they let you out ofsecretarial school?

Joan peeks in.

JOANExcuse me, Mr. Draper. Your wife ishere to see you.

DONMy wife?!

DUCKPerfect timing! I love heralready.

Momentarily thrown, Don quickly gets his bearings.

28.

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30/58

DONSend her in.

The men stand up as the women enter.

DON (CONTD)

Hello! And you brought Francine!

Francine openly examines Dons office as Don leans in to kissBetty.

BETTYI wanted to surprise you.

DON(whispering)

Mission accomplished.

FRANCINE

It was my idea, Don. Lay the blameon me.

DUCKYoure just like newlyweds!

Betty studies Dons face to see if hes displeased andwhispers:

BETTYYou dont mind, do you?

His face is blank and Betty freezes.

DONDuck, this is my wife Betty. Andher friend Francine Hanson.

They all shake hands.

DUCKNow I see why Don is so mysteriousabout his family. I would be too ifI had a treasure as precious asyou.

BETTYThanks.

DONLaying it on a bit thick, arentyou, Duck?

29.

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31/58

BETTYWere on a shopping expedition.

FRANCINEEvery knight needs his princess.And yours needs a new gown.

DONWhat about the kids?

BETTYThe girl will pick them up whenschool lets out.

DUCKCome on, Don, dont be aspoilsport. Mrs. Draper, I was justtelling Don about a project thatmight interest you.

BETTYMe?

DUCKMy mother is on the fund-raisingcommittee of the March of Dimes. Aspart of her efforts, she organizesa ball each year. She is alwayslooking for competent volunteers.

BETTYIm honored that you thought of me.

DUCKIts a wonderful endeavor--

DON--Admirable. But our children arestill very small.

FRANCINESally is eight and a half. Hardly ababy.

Don glowers at her.

DONI know how old my daughteris, Francine.

DUCKWhy, shell be on AmericanBandstand before you know it,Don.

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BETTYThe March of Dimes sounds...Important.

DUCKIts very fulfilling. Not to

mention prestigious.

FRANCINEOooh!

DUCKAnd, Don, it keeps her away frommeddling in my business.

Francine and Betty smile politely.

DUCK (CONTD)Im divorced. Mother likes to set

me up on dates. So, what do yousay, Betty?

BETTYDon?

DONI think wed have to discuss thisfurther.

DUCKMaybe we could talk about itsometime over a proper meal.

INT - STERLING COOPER OFFICE - BULLPEN - CONTINUOUS

Edie is back at her desk, typing. Peggy approaches her.

EDIEMay I help you?

PEGGYI just wanted to check in with Mr.Draper. We have a meeting thisafternoon.

Edie looks at her copy of Dons calendar.

EDIEPeggy Olson? Its at four. Im EdieMcIntyre.

They shake hands. Edie turns chummy.

31.

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EDIE (CONTD)Werent you Mr. Drapers secretarybefore me?

PEGGYTwo girls before you, actually.

EDIEThey had a hard time finding areplacement for you! Any tips abouthandling Mr. Draper?

PEGGYJoan probably knows better than me.I wasnt his secretary for long.Joan is great with that stuff.

EDIEIsnt she? I can tell Im going to

love this place. Why, I alreadyhave an invitation for lunch.

Peggy feigns interest, while bringing out her notes.

EDIE (CONTD)From Ken and... Pete, I think hisname is--

Peggy stiffens visibly.

EDIE (CONTD)Wait. Was he... did you guys date?

PEGGYPete is married.

EDIEHe is?! Oh, my God, he doesnt evenwear a wedding band.

PEGGYYes, he does. You werent payingattention.

EDIENo, he wasnt and, believe me,thats the first thing I noticeabout a man. Thanks for letting meknow. We girls have to sticktogether, right?

Peggy sets down a stack of paper.

32.

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PEGGYMr. Draper will be needing thisreport for our meeting.

Edie is about to grab it but Peggy puts her hand on it.

PEGGY (CONTD)Actually, this is my only copy. Soyoull have to type a copy for him.

Edies face falls.

EDIEThis is going to take at least twohours!

PEGGYBetter get started then. We girlshave to stick together, right?

INT. STERLING COOPER - SECRETARIES BREAK ROOM - CONTINUOUS

IVY and Hildy are pouring themselves some coffee and eatingsandwiches. Ivy is mid-chatter and Hildy is bored.

IVY...Hes second in command in thefamily business--

HILDYPretty solid.

Joan comes in and heads for the medicine cabinet.

IVYOh, sweetie, is it one of thosedays?

Joan pops an aspirin.

JOANI could use a Bloody Mary. Mrs.Draper showed up unexpectedly andthe new girl left her desk without

so much as letting me know--

HILDYShes more intent on sashaying allover the office than on work.

IVYMaking the most of her littlefigure, that one.

33.

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JOANCant say I blame her. Still, shecould actually work while sheshunting for a husband.

HILDY

I had to answer Mr. Drapers lineall morning. You can imagine howPete Campbell felt about that.

Edie enters, visibly upset. She runs to the sink and fumblesaround.

JOANEdie, did Mr. Draper upset you?

Edie shakes her head. Joan walks to the sink, opens acupboard, takes out a glass, fills it with water and hands itto her.

JOAN (CONTD)Sweetie, you can tell us.

EDIEPeggy Olson--

Hildy and Joan nod.

EDIE (CONTD)--She just came up and gave me alast minute report to type up forDon. Its going to take me allafternoon.

HILDY--She shouldve prepared thatherself!

EDIE--What really ticked me off was hertone... As if I were HER secretary!

IVYWho does she think she is?

They all nod.

JOAN(to Edie)

Just remember, honey. She startedout just like you.

34.

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IVYId like to give her a piece of mymind.

HILDYI have to hand it to her, though.

The men take her work seriously. Ican see how that might be nice.Make some money of your own, earnsome respect.

IVYMy mother always said theres nohigher calling than taking care ofthe ones you love.

Joan puts an arm around Edies shoulder.

JOAN

Five years from now, when youvegot a house of your own and aloving family, youll think back onall this and feel sorry for PeggyOlson.

IVYShell still be single and writingcopy for sanitary napkins.

Joan takes out a cigarette, lights it and hands it to Edie.

EDIEThanks. For everything.

JOANYoure welcome. And, Edie, yourfirst week will be a lot easier ifyou focus on the work and leteverything else slide off yourshoulders.

HILDYWhos covering for you right now?

Edie is horrified. Hildy rolls her eyes at Joan behind Ediesback.

JOANFocus. Your job comes beforeflirting, got it?

EDIEYes.

35.

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37/58

She hurries out. Joan lights a cigarette.

JOANI think Im going to have a talkwith our little lady copywriter.

IVYKnock her right off her high horse,will you please?

INT - STERLING COOPER - BULLPEN - CONTINUOUS

Edie runs to her desk, sits and checks herself in a smallhand mirror. She looks around, notices Pete looking at her.

He winks at her. She smiles.

She inserts a fresh piece of paper into the typewriter andbegins to type. Pete approaches her.

PETEIs he in?

He extends his hand.

PETE (CONTD)Pete Campbell. Account executive.

EDIEOh, YOURE Pete!

PETEMy reputation precedes me.

She giggles.

EDIENot exactly.

Pete sits on her desk and leans in conspiratorially. He oglesher.

PETETell me everything youve heard,

other than that youve got greatlegs, a winning smile and--

EDIE--That youre married.

PETE--Thats cause I didnt meet youfirst, doll.

36.

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38/58

Don Drapers door opens and Pete hurries to stand. Don,Betty, Francine, and Duck walk out.

PETE (CONTD)Don.

DONPete.

PETE--I was just--

DUCK--Giving the new girl a warmwelcome, I see.

Francine and Betty smile at each other. Betty notices Peteswedding band and frowns. Pete straightens his tie.

DUCK (CONTD)Betty, I trust youll get Don tocome around.

BETTYWell see.

FRANCINEIll make sure she tries.

DUCK (CONTD)Ladies, lovely meeting you.

He walks away. Pete holds his hand out to Betty.

PETEMrs. Draper, as Dons colleague,its a pleasure to finally--

DON--Betty, this is Pete Campbell. Oneof our junior account executives.

FRANCINEJunior? Sounds little league.

Pete winces.

DONIsnt she witty?

PETEQuite.

BETTYNice to meet you.

37.

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PETEYoure a dead ringer for GraceKelly, Mrs. Draper. Are you havinglunch with Don?

FRANCINE

Were having lunch with one Mr.Bergdorf Goodman.

PETEAh, so youre on a shoppingexpedition. I recommend Menkens.Maybe you can even get RachelMenken to show you around--

Don hides his alarm.

BETTY--Oh, Im not familiar--

DON--Pete, Im sorry, did we

have an appointment that Iforgot about?

PETE (CONTD)Well, I was hoping maybe--

DON--Sorry, Im all booked up. Ladies,Ill escort you out.

Don hurries Betty and Francine out to the reception area.Pete turns to Edie.

PETEWhat are you doing for lunch?

EDIEI have plans.

PETEI bet you do.

INT. STERLING COOPER - PEGGYS OFFICE - AFTERNOON

Peggy is alone in her shared office, a report spread open

before her. She looks preoccupied, then goes back to makingnotes on a yellow pad. She rips the page out and tosses it inthe wastebasket. Shes distracted and doesnt hear a knock.

Ken opens the door and comes in.

KENCare to join Paul and me for lunch?

38.

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PEGGYI have a lot of work.

Ken studies her.

KEN

Really absorbed in the writing, Isee.

PEGGYI like writing.

KENSure. I do too. But if you want tosucceed, you gotta learn toschmooze--

PEGGY--I thought that was your job.

KENPart of yours as well. Just look atDon. Great writing chops but hisforte is the sell.

She looks unconvinced.

KEN (CONTD)You cant just coop yourself up inyour office.

Peggy flinches.

PEGGYI know all that.

KENPays to put it into practice.

She nods. Ken turns to leave but stops when she says:

PEGGYHey, Ken? Thanks.

KENCome out Friday. Have a couple ofdrinks. Who knows? You might evenhave some fun.

PEGGYOkay.

He raises his hand as if to say Youre welcome and leaves.

39.

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41/58

INT. STERLING COOPER - PETES OFFICE - CONTINUOUS

Harry sits across from Petes desk.

HARRYHow is it going with the Clearasil

account? I saw Peggy storm outearlier...

PETEYeah. She rues the day Don promotedher. He did it to spite me. Gave itto a mere secretary so she couldcut her teeth on--

HARRY--Shes not entirely untested. Andsometimes new blood is a good idea.

PETEHe wants me to fail in front of myfather-in-law.

HARRYYoure taking all this verypersonally, Pete.

PETEIt IS personal.

HARRYDons not going to alienate aclient just to show you up.

PETEI think he would, actually. Hesthe one whos afraid of youngblood.

Pete hands Harry a copy of Look magazine. The front coverreads:

FIFTY PAGES ON YOUTH... A SURPRISING NEW LOOK AT THEEXPLOSIVE GENERATION

PETE (CONTD)See this?

He opens to the article and reads:

40.

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42/58

PETE (CONTD)Not since 1212, the year of theChildrens Crusade, has there beena year of youth activity to match1960.

He checks to see if Harry is following him. Pete continues:

PETE (CONTD)After that ill-fated campaign,Pope Innocent III wrote: The verychildren put us to shame. While wesleep, they go forth gladly andconquer the Holy Land.

HARRYOkay. So you want to fight theinfidels. Book a trip to Israel.

PETEThe young are shaking up the world,Harry. And who are the adstargeting?

Pete leafs through the magazine.

PETE (CONTD)Long distance brings you thelaughter of your grandchildren --For Gods sake!

He tosses it aside.

PETE (CONTD)Guys like Don are dinosaurs.

HARRYPeggy is twenty-one. He put her onthe account.

PETEPeggy makes Grandma Moses look likea teenybopper.

Harry laughs.

HARRYAnd youre the young Turk whollget Sterling Cooper in touch withthis explosive generation. We allhave to pay our dues, Pete. Yourtime will come.

41.

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43/58

The intercom buzzes.

HILDY (O.S.)Mr. Campbell, Mr. Draper to seeyou.

Pete straightens up.

HARRYDont tell me. Hes bugged youroffice as well.

PETEFunny.

(into intercom)Send him in.

Don enters.

PETE (CONTD)Don, Im honored you made time tosee me.

DONDo you mind, Harry?

HARRYSure thing.

He leaves. Don waits until the door closes to add:

DONI dont appreciate you sidling upto my wife like that.

Pete squirms in his seat.

PETEDon, I was just... I thought yourwife and her friend wouldappreciate a suggestion.

DONIm the one you need to impress. It

pays to remember your place in thehierarchy. Concentrate on bringingin accounts, Pete.

He exits. Pete is left fuming.

PETEYoure nothing but a fake.

42.

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44/58

INT. STERLING COOPER - DONS OFFICE - LATER

Don reads Peggys notes. She looks nervous.

DONGets inside pimples to clear them

fast. Is this all you got?

PEGGYIve been working really hard.Reading reports--

DON--Its more of the same, Peggy. Ipromoted you because I wantedsomething new.

PEGGY--The market research says--

DON--Forget the research. Our businessis not statistics. Were in thebusiness of needs, dreams andfears.

Peggy nods. Don takes on a philosophical tone.

DON (CONTD)What do you want more than anythingin the world? Whats your biggestfear?

Peggy looks dubious but is about to answer when Don raiseshis hand.

DON (CONTD)Dont answer that.

She looks relieved.

DON (CONTD)We all want love and we yearn tobelong. To be accepted just for who

we are. All of us have that flaw,that imperfection that werepositive will lead to rejection.Reassurance. Our little piece of...Utopia. Camelot. Thats what wereselling.

He picks up the product.

43.

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45/58

DON (CONTD)Not a little tube of chemicals. Youthink you can get me something bytomorrow morning? Were meetingwith Clearasil on Friday afternoon.

PEGGYYes. I think I got it now.

He hands her back her copy.

DONYouve done it before, you can doit again.

PEGGYThank you, Mr. Draper.

FADE TO BLACK.

INT. STERLING COOPER - ELEVATOR BANK - EARLY MORNING

The elevator doors are closing as Don calls out.

DONHold it, please.

ELEVATOR MANSure thing, Mr. Draper.

A young black ELEVATOR OPERATOR reopens them. Don enters andjoins Bert Cooper.

COOPERYoure here early.

DON(puzzled)

You dont approve?

COOPERThese are extraordinary times, Don.

DON

Arent they always?

The doors open and they walk out into...

INT. STERLING COOPER - BULLPEN - -- CONTINUOUS

... an empty main office.

44.

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46/58

COOPER--Two weeks into the new year andthe Cubans oust us, a nuclearreactor explodes in Idaho and --did you see this little item intodays Times?

Cooper unfolds the newspaper tucked under his arm and reads:

COOPER (CONTD)Laos uses planes supplied by U.S.in raids on Reds. The Soviet Unionand North Vietnam are supplying andassisting the Communist rebels.

DONNot our war. Anyway, if it were, itwould last less than a year.

COOPERI tell you, Don. I dont knowwhats going to happen next or ifIm being an alarmist. But the waythings are going... Look, your workis outstanding.

He takes out some theater tickets from his coat pocket.

COOPER (CONTD)Youve earned some time with yourwife and kids, Don. Cherish everymoment.

Don looks away as this sinks in.

INT. STERLING COOPER - CONFERENCE ROOM - LATER

Peter, Don, and Salvatore are seated around the table. TheClearasil team includes Petes father-in-law, TOM VOGEL, andGREG CLARKSON, a young, bespectacled executive in his mid-20s. Tom winks at Pete.

Peggy stands before an easel with several drawings.

TOM(to Pete)Hows the gardening?

Pete smiles, trying to hide his embarrassment.

SALVATOREI didnt know you had a greenthumb, Pete.

45.

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TOMFrom all reports, the fields arentlying fallow.

He elbows Greg, who smirks.

SALVATOREMy mother grows prize tomatoes.Ever been to a farm, Don?

DONSure, when I was a kid.

Pete is eager to take the focus off himself:

PETEThats right, didnt you grow up onone?

Don ignores this.

DONGentlemen, let me introduce you toPeggy Olson, our newest juniorcopywriter.

Peggy shakes hands with the men. She surveys the room. Donnods at her. Pete looks nervous. She launches in:

PEGGYGentlemen, think back on the dayswhen you were... green.

Tom guffaws and Peggy smiles.

PEGGY (CONTD)Inexperienced, entering yourteens... The world was full ofpromise but also fraught with newchallenges. You were eager to meetthem yet unsure of yourself. Andperhaps the biggest challenge ofall was... dealing with otherpeople. No longer were you

blissfully unaware of how youappeared to others. Your peers.Your friends. But especially theopposite sex.

TOMHell is other people. Who saidthat?

46.

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48/58

GREGSartre.

PEGGYOn the cusp of adulthood, othersopinions matter -- more than ever.

And just when you need theirapproval the most, your bodyrebels. You are awkward and gawkyand... pimples appear, usually whenyou least expected them. Like yourfirst date. Or the prom.

She picks up a tube of the lotion.

PEGGY (CONTD)This is not just...

(looking at Don)...A little tube of chemicals. This

contains the formula forreassurance. Be popular andunblemished, Clearasil is yourelixir.

TOMYour what?

PETEAn elixir. A magic potion.

TOMI know what it means, I just didnthear! Speak up, young lady.

She unveils the drawings on the theme of turning from a froginto a fairy tale prince.

PEGGY(a bit louder)

From frog to prince. Clearasil isyour...

She substitutes Toms phrase at the last moment.

PEGGY (CONTD)...Magic potion.

DONLets face it, even the homecomingqueen feels homely.

TOMAint that the truth!

47.

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CONTINUED


49/58

As Peggy exhales in relief, Don nods encouragingly and Petesmiles, pleased despite himself.

INT. GREENWICH VILLAGE GATE - FRIDAY NIGHT

A jazz quartet plays away on stage. Harry, his wife JENNIFER,

Salvatore and LINA, an Italian beauty, are sitting havingdrinks and enjoying the show.

The musicians finish their set.

Harry turns to his companions.

HARRYThe sax player? Fifteen years old.Give him five years and hell begiving Trane a run for his money.

JENNIFER

Harry, youre showing off.

Harry mouths sorry.

SALVATOREYoure also exaggerating. Do youlike jazz, Lina?

LINAI prefer Johnny Mathis.

HARRYSolid crooner.

JENNIFERLina, youre such a romantic.

Lina squeezes closer to Salvatore.

LINAI bet you are too! I can tell. Itsin our nature, after all. Anchiosono Italiana.

HARRY

Such a passionate race. And thefood!

Jennifer pats his belly.

JENNIFERThats what really interests him.

They all laugh. She gives her husband a wary smile.

48.

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50/58

JENNIFER (CONTD)Passion can get you in trouble,after all.

SALVATOREAh, but such fun in the meantime!

Think of the memories.

Lina puts her hand over his. Salvatore hides his uneasiness.

LINAJust as long as youre makingmemories with the right man. Awoman can always tell when shemeets The One.

The music changes to a languorous bolero.

HARRY

As if on cue! The fates areconspiring in your favor, Romeo!

SALVATOREIve got two left feet.

Lina tilts her head coquettishly.

LINAIll be the judge of that.

SALVATORE--Youre brave to offer but--

JENNIFER--Bet youre just sayingthat!

HARRYGo on and dance! Touch abeautiful woman all overwithout getting slapped!

Lina giggles and finally Salvatore escorts her to the dancefloor.

Jennifer narrows her eyes at Harry.

JENNIFER

A beautiful woman, huh?

HARRYI meant you. Care to dance?

Her manner softens but she resists.

JENNIFERYou cant dance.

49.

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51/58

HARRYI know. Its just a cheap excuse topaw at you.

She laughs in spite of herself. He stands before her,pleadingly, she shakes her head. He gives her his best puppy

eyes and finally she relents.

On the dance floor he draws her near, she closes her eyes. Hestops. She looks at him. They kiss passionately.

Lina stares at them. Salvatore turns to see. She gazes up athim. He looks trapped and ends up patting her head.

INT. SARDIS RESTAURANT - NIGHT

Betty and Don are having dinner, dressed in their glamorousbest.

DONDid you enjoy the show?

BETTYIt was marvellous. Did you?

DONSurprisingly, yes.

BETTYTalking about surprises... Yousneak!

He looks alarmed.

BETTY (CONTD)Arranging the perfect night outbehind my back! How ever did youget tickets?

He laughs.

DONWe all have our secrets. And Iwanted to make it up to you. I can

get caught up with work.

BETTYYoure going to have to try harder.

Don frowns. She squeezes his hand.

50.

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52/58

BETTY (CONTD)Im joking. This is lovely. Thanks.How is the new girl working out?

DONShe didnt.

BETTYYou fired her? Just like that?

DONHer mind wasnt on the job.

BETTYSometimes I feel sorry for thesegirls. Theyre like the paper dollsI played with as a kid. By theafternoon, Id grown bored withthem--

DON--Birdie, I dont play with dolls.

BETTYThats good to know.

They eat for a while.

BETTY (CONTD)Duck is nice. The March of Dimes issuch a worthwhile endeavor.

DONYoure seriously considering hisoffer.

BETTYItd be nice to get out of thehouse. Its a great cause--

DON--Charity begins at home.

BETTY

Hes trying to get to know us--

DONIm partner now, Betty.

BETTYYoud go out with Roger Sterling.Hed come over to the house.

51.

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53/58

DONIm not Roger Sterling. I wasntborn into the business. Id like toset a tone for now.

BETTY

I understand.

She preens.

BETTY (CONTD)You havent said anything about thedress.

DONYoure a vision in it.

BETTYFrancine picked it out.

DONSo she is good for something, afterall.

BETTYStop.

Betty takes a sip of her wine.

BETTY (CONTD)She hasnt been herself since thatwhole thing with Carlton.

DONYoud think shed get over that, ifonly for the sake of the kids.

BETTYHer husband betrayed her. Its notthe kind of thing you get over,just like that. With just a coupleof trinkets and a... Romanticweekend for two.

Don studies her as her words linger. After a while, hespeaks:

DONHopefully, Carlton will come to hissenses. We all make mistakes.

BETTYThats a very big mistake.

52.

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54/58

DONSometimes you dont know what youhave until you almost lose it.

Bettys eyes widen.

DON (CONTD)You and the kids are all Ive got.

Bettys eyes tear up.

BETTYI think, I need to... Ill be rightback.

She heads for the powder room. Don watches her. He lights acigarette and smokes, looking around. Suddenly, he sits up.

The MAITRE D is leading RACHEL MENKEN and an attractive

YOUNG MAN to their table. They sit.

Rachel faces Don but doesnt see him.

Don stubs out his half-smoked cigarette. Rachels date getsup.

She catches sight of Don. They connect silently for a while.

INT. GREENWICH VILLAGE - CHUMLEYS - NIGHT

Peggy, Paul, Ken, Pete, and Joan sit at the bar, smoking anddrinking.

PAULSold it to the Met for $40,000!This was back in 1918!

JOANMy!

PAULBack when a dollar was a dollar! Icant get over that.

KENWhats he talking about?

JOANThe Etruscan terracotta warriors.Fakes.

53.

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55/58

PETEYoud be surprised how many fakesthere are.

Ken bumps Peggys shoulder.

KENGood start. Now you have to work onactually having fun.

PEGGYI am having fun.

KENSweetheart, if thats the case, youneed another drink.

EXT. GREENWICH VILLAGE STREET - NIGHT - CONTINUOUS

Harry, Jennifer, Lina and Salvatore tumble out of the VillageGate. Theyre tipsy. The women kiss each others cheek.Salvatore guides Lina to the curb.

SALVATOREIll hail you a cab.

Harry and Jennifer watch.

JENNIFERLooks like a match made in heaven.

INT. GREENWICH VILLAGE - CHUMLEYS - CONTINUOUS

Paul sidles up to Peggy and Ken.

PAULHey, Pegs, I hear youre up for thePampers account.

PEGGYPampers?

JOANDisposable diapers.

PEGGYWow.

KENBrand new product. Im this closeto nabbing the client.

54.

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56/58

PAULQuite a coup. Imagine the focusgroups.

(to Ken)A roomful of pretty young mothers,bored, neglected by their husbands--

JOAN--You men.

KEN--Ill get the babes andyoull get the babies.

(to Peggy)You like babies, right?

PAUL (CONTD)What woman doesnt?

Flustered, Peggy stands up...

PEGGY

Excuse me!

...And runs out.

PAULWhat got into her all of a sudden?

KENIll go check.

EXT. GREENWICH VILLAGE STREET - CONTINUOUS

Peggy buttons up her jacket. Ken follows after her.

KENHey!

PEGGYI have to go. Its getting late.

KENAre you all right?

PEGGYIm fine. I just...

She brushes away the tears.

PEGGY (CONTD)...I need to go home.

KENCome on, Ill take you to yourdoor.

55.

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57/58

He takes her elbow and leads her to the subway.

EXT. GREENWICH VILLAGE STREET - CONTINUOUS

Salvatore passes by a door and knocks. It opens and heenters...

INT. GREENWICH VILLAGE BAR

... A hidden, crowded bar. The BARTENDER tilts his chin athim.

SALVATOREA Manhattan, please.

He lights a cigarette, looking into the mirror behind thebar. The reflection reveals a dance floor. Men in businesssuits and guys in leather jackets dance cheek to cheek.

INT. DONS CAR - CONTINUOUS

Don is at the wheel, Betty dozes in the passenger seat.

They stop at a stoplight on the corner of Menkens Departmentstore. Don stares, in a daze.

BETTYOoh, what a beatiful dress on thewindow. Im such a bad wife, Ididnt visit the other day.

Don draws her hand to his lips.

DONYou couldnt be a better wife.

Content, Betty looks out the car window.

BETTYThe citys so beautiful at night.

INT. SUBWAY CAR - CONTINUOUS

Peggy and Ken are on a Brooklyn-bound train as it rattles

over the Manhattan Bridge.

He stares at the sparkling Manhattan skyline. Peggys headfalls on his shoulder. Shes asleep.

INT. GREENWICH VILLAGE BAR - CONTINUOUS

Salvatore nurses a drink. A VERY YOUNG MAN sits next to him.

56.

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CONTINUED


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YOUNG MANTough week, huh?

SALVATOREJust tired of putting on an act.

YOUNG MANThe masks we have to wear.

SALVATORETell me about it. Sometimes I wishI could run away to a better place.

(to Bartender)Wheres the little boys room?

The bartender motions to the back. Salvatore weaves his wayin that direction. He opens a door and steps through...

EXT. ALLEY

...Only to find hes accidentally gone through the back exitby mistake. The doors shut behind him. He bangs on it.

SALVATOREHey, hey! Open up! Hey!

He shrugs and walks down the alley to the street.

INT. GREENWICH VILLAGE BAR - CONTINUOUS

And OLDER MAN sidles up to the young man, who looks forSalvatore to return.

OLDER MANCare to dance?

Suddenly, the front door bursts open and POLICE swarm in. Menpanic and try to scatter out, as police clubs rain on them.

COPPull up your panties, ladies! Thisis a raid!

FADE TO BLACK.

THE END

57.

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Documents

Camelot - Mad Men spec