Mad Men - Peter and the Wolf

8/9/2019 Mad Men - Peter and the Wolf

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MAD MEN"Peter and the Wolf"

(Early 2nd Season Spec Script)

Written by

Andrew Kelly

August, 2010647.888.1150


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OPENING CREDITS.

ACT 1.

FADE IN.

INT. PETES APARTMENT - DAY

Quick close-up shots of PETE CAMPBELL going through morningroutine, getting ready for another day at Sterling Cooper.Hitting alarm clock. Showering. Shaving. Selecting shirt fromhis closet. Doing up tie. Combing hair with pomade. All withefficient purpose. Looks himself in the eye in the mirror. Inthe doorway of bathroom, seen in the mirror behind Pete, his

wife, TRUDY, eyeing him in her nightie.

TRUDY

Big day today?

Pete turns and looks at her.

PETESame as every day.

Pete walks past her to exit their apartment.

TRUDYWeve got dinner with the Austenstonight. Home by six?

PETEIll try.

TRUDYTry?

Pete pauses at the door and turns.

PETEWe talked about this. I cant letup. Not if I want to get anywhere.(pause) Isnt that what you want?

TRUDYOf course, it is.

PETEThen. Like I said. Ill try.

Pete exits, closing the door on Trudy standing alone.

2.


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INT. STERLING COOPER FLOOR - DAY

Close up on JANE SIEGELs high heels as she stands at thephotocopier making copies.

COSGROVE (V.O.)

(low whistle)Those could kill a man.

Slowly pan up from behind Jane, over her legs, ass, back andhair. We see KEN COSGROVE and PAUL KINSEY standing togethereyeing her, mesmerized by her figure.

KINSEY(with pipe in mouth)

What man wouldnt jump at thechance to die wrapped in thoselegs.

COSGROVE(in a daze, exhaling hiscigarette)

Like a python.

KINSEYPython? No. A Siren. Reincarnate asa typist. Luring men willingly toeternal imprisonment.

COSGROVE(snorts)

Siren. Nice.

Kinsey and Cosgrove smile at Jane as she finishes hercopying. Jane flashes a brilliant, sweet smile as she exits.Their gazes follow her ass as she leaves to return to herdesk.

COSGROVE (CONTD)Well, if thats what prison lookslike...

Cosgrove walks off to his office, leaving Kinsey stillwatching Jane across the floor with a me too look.

INT. DONS OFFICE - DAY

Close up of DON DRAPERs face, eyes closed, asleep. He openshis eyes, staring at the ceiling. Don sits up from a night onhis office couch, wipes his face in his hands.

Getting up, he crosses the room and pours himself a straightrye.

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Downing the glass in one gulp, he goes to his desk whilelighting a cigarette. On the desk we see a mess of papers andads strewn about. His intercom buzzes.

JANE (O.S.)Mr. Draper?

Don reaches across the desk and presses the button.

DONYes.

JANE (O.S.)Your wife called a few minutes agoasking if you were in. (pause) Sheseemed quite worried. I told heryou were busy in your office.

Don pauses, then presses the button again.

DONThank you, Jane. Is that all?

JANE (O.S.)Yes, sir.

DON(pause)

If she calls back, tell her Ill behome for dinner.

JANE (O.S.)

Yes, sir.

Don leans down to habitually take a clean white shirt fromhis desk drawer, kicks the drawer closed and changes.

INT. DRAPER KITCHEN - DAY

SALLY and BOBBY DRAPER run around the kitchen, playfullyyelling and screaming. BETTY DRAPER in her nightie looks

weary and haggard, preparing the kids cereal and orangejuice like a zombie.

She places the bowls on the table.

BETTY(weakly)

Sally. Bobby. Cut that out and haveyour breakfast.

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SALLYWhy do we have to have breakfast,

mommy?

BETTYIt makes you strong.

The kids rush to the table, full of energy and take theirseats. Betty walks to the sink, slowly lights a cigarette andrubs her head.

BOBBY (O.S.)Mom!

Betty doesnt move, continues staring dazed out the window.

BOBBY (O.S.) (CONTD)Mom!!

BETTY(disinterested)

What is it?

Betty turns to face her kids at the table.

BOBBYTheres orange juice in my cereal!

SALLYMine too!

Betty sighs and moves to re-make breakfast.

INT. PETES OFFICE - DAY

Cosgrove, Kinsey and PEGGY OLSEN are seated, Pete paces.

PETEThe fact is, they dont know whatthey want.

COSGROVEWell, they left McCallum, Rennie

and Holst because they know whatthey didnt want.

KINSEYSame old.

PETETheyve been steadily losing theirshare of the market over the pasttwo years.

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PEGGYHence why theyre re-branding witha mens line. And lets face it,Max Factor just doesnt carry thesame name recognition it once did.

PETEI say we push hard for young,hipster image the women wouldreally go for. Thats fresh.

PEGGYBut Max Factor isnt fresh. At all.The brands been around longer thanNixon.

Kinsey smirks.

PETE

We tell people somethings fresh,Peggy, then its fresh. Speaking of

which, when didyou get here thismorning?

PEGGY(shy)

Early enough.

PETERight. (pause) Well. The best inthe mens market are all layingtheir brands out as what young

ladies want.

KINSEYAnd young women are the ones

wholl be buying it for their man,anyway.

PETEExactly. Theyll jump at a chanceto be bumped into that trend.

PEGGY

Even if they do, I dont think itwould work... Wheres Don on this?

COSGROVEWho knows? Drapers been holed upin the Batcave for days.

KINSEYAuditioning a different Batgirlevery night?

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They laugh, except Peggy who feigns a smile. Sheunconvincingly tries to defend Dons absence.

PEGGYGuys, Im sure hes in there

working on a number of things were

just unaware of.

PETE(snorts)

Please. Hes pushing garbage. Donsgetting stale in his old age.Nothing new. Nothing sharp. Its upto this room to take the lead.


Don sits at his desk, quietly pouring over copy from modern

cologne ads. They all contain young women adoring young menwearing the advertised cologne. ROGER STERLING walks inwithout knocking, carrying a mug of coffee.

DON(sarcastically)

Come in.

STERLINGI found your Jane on her way tobring you some coffee. You know me,I couldnt pass on chivalry.

Sterling puts Dons coffee on his desk.

STERLING (CONTD)Nor a chance to be near that

magnificent creature.

Don snorts.

DONSo what can I do for you? Or have Ibecome just an excuse for you toogle my secretary?

STERLINGClearly.

Sterling sits down in the chair in front of Dons desk.

STERLING (CONTD)Max Factor Jr. is in today.

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DON(gesturing to the copy onhis desk)

Thanks.

STERLING

We need you at the top of yourgame. Youre days have beenblending together... (looks at theclearly slept on couch) You know,if you have too much on your plate,I can throw some stuff to Campbell.Hell eat whatever scraps fall offyour table.

DONIm fine.

Sterling looks at him.

DON (CONTD)Im fine.

STERLINGThe wells been dry for a few weeksnow. The copy coming from your deskhas nearly scared off threedifferent clients. The natives aregetting restless.

Don is silent, looking over the papers on his desk. He looksup at Sterling.

STERLING (CONTD)You need a vacation? A raise? A

muse? (turns to look at the closeddoor) Cuz I tell ya...

DON(chuckling)

No. (pause) Look, Roger, its allhere. Im on top of it. You cantrush creative.

Sterling gets up to leave, buttoning his jacket.

STERLING(pause)

Alright, youve all the time in theworld. Until 2 oclock. Find yourgame by then.

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Sterling exits, nods to Jane on the way out. Don remainsthoughtful for a moment before turning back to the pile ofads.

INT. DRAPER FOYER - DAY

Sally and Bobby are getting ready for school with CARLA, theDrapers housekeeper. Betty, still noticeably dishevelled,looks on.

SALLYCan we go to the park today, Carla?

CARLAIf youre both good in school, we

might be able to swing by after.(looks at Betty) As long as its ok

with your mom?

BETTY(breaking out of a daze)

Yes. Of course. Thank you, Carla.

CARLAAre you feeling well, Mrs. Draper?

BETTYIm alright. I just havent beengetting much sleep lately.

CARLA

Oh, well then. When I get back withthe children this afternoon, Ill

make you a pot of my mothersspecial tea. It works like a charmevery time I have trouble sleeping.

BETTY(smiles thinly)

Thanks. That would be lovely.

Betty bends over to kiss Sally and Bobby goodbye.

BETTY (CONTD)Have a great day at school! And begood for Carla.

SALLY & BOBBYYes, Mommy.

CARLAHave a good day, Mrs. Draper. Andtry to get some rest.

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BETTYI will. Thank you.

Sally, Bobby and Carla exit. Leaving Betty reflective andalone. She wanders like a zombie through the house and pausesas she passes by Dons home office. From the hall, she looks

inside at his empty desk, pensive. Abruptly, she turns andwalks to the front door, which she leans against and locks asshe closes her eyes tight.


A frazzled Peggy carries a sizeable stack of folders acrossthe floor in a hurry. Shes late. She bumps into someone anddrops the files. Exasperated she crouches down to put themback together. She looks at her watch briefly, then redoublesher pace picking up the loose paper.

INT. STERLING COOPER CONFERENCE ROOM - DAY

Pete offers Don their suggestions for the Max Factor meetingas Kinsey, SALVATORE SAL ROMERO and HARRY CRANE all sitaround the table.

PETEWith these trends looking the waythey do, its undeniable that achic panache will really appeal tothe young, suburban woman whollbuy Max Factors new line.

DONAmens product line.

PETEDon, the domestic woman--

Pete pauses as the door opens and Peggy enters trying to lookcomposed, but clearly out-of-breath. She quietly finds herseat as Pete resumes.

PETE (CONTD)

--The domestic woman does buy thelions share of their mans goods.Ties, shaving cream, even beer...heck, you proved as much withHeineken.

DONIm well aware, Campbell.

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Don pauses, dragging on his cigarette as the team waitsexpectantly. Nothing.

SAL(hesitantly)

Uhh, weve thrown together some

images that could sell thisapproach. Theyd usher Factor intothe same conversation as the otherheavy-hitting male fragrances--

Cosgrove enters the room, late.

COSGROVEGuys. (nods at Peggy)

DONNow that were all here...

COSGROVESorry Im late, Don. Thought we

were meeting in your office.

KINSEY(snorts)

Naturally. Hows Miss Siegel?

COSGROVE(smiles)

Couldnt be better... Whatd Imiss?

HARRYDon here was just about to sign offon our pitch to Factor for thisafternoon.

Don looks around at them for a beat, rests on Peggy.

DONWhat about you? Does this read likea good idea?

PEGGY

(thoughtfully)No.

PETE(snorts)

Come on! Then why is the entiremarket--

DON--Pete. Go on, Peggy.

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PEGGY(composed)

Its not a good idea because itwill only get lost in an alreadyindistinguishable market.

DON(pauses)I agree. We need something thatllset them apart.

Don looks over his documents as the room looks at each other,looking for direction on what to say next.

KINSEYSo, what then? Theyre here inabout (looks at his watch) --theyre probably here now.

DONHarry, Peggy. Would you see iftheyve arrived and bring them in.

Harry and Peggy get up and exit. Don remains deep in thought,the others unsure what to do.

PETE(annoyed)

Look, Don. This is a solid pitch.Its exactly what McCallum, Rennieand Holst were too stubborn and outof touch to offer.

Don looks at him, silent, then stubs out his cigarette as hestands.

DONWe throw around some vague ideastoday, no firm commitments. And wego back to the drawing board topitch them a home run later this

week. Understood?

Irritated, Pete nods. Harry and Peggy enter with Max Factor

executives MAX FACTOR JR., a tall, gruff old man and ROBERTBOORMAN, his wiry, spectacled assistant in tow. The teamstands and begin shaking hands.

DON (CONTD)Gentlemen. Welcome. Thanks for

making your way up to SterlingCooper.

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Let me introduce you: Ken Cosgrove,Paul Kinsey, Pete Campbell, SalRomero and I take it youve already

met Harry Crane and Peggy Olsen.Please, take a seat.

Everyone sits down around the conference table.

DON (CONTD)Well, we know things havent beentoo rosy this past year. Im sorryto say the traditional ways youreused to on the other side of thestreet just dont carry the same

weight they used to, especially ifyoure attempting a foray into theexpanding male market.

FACTOR

Naturally, its why weve come tosee you, Mr. Draper. Youre revivalof Menckens was inspired.

DON(smiles)

Then youre aware of how SterlingCooper can get you where you wantto be?

FACTORAnd where, do you believe, is that?

DONThe top.

FACTOR(smiles)

So. What do you have?

DONTo be honest, your brand has been

marginalized. Youre new linesimply wont be in theconversation. And to get you in, we

need to completely re-brand.

BOORMANOur analysts have already told usthat, Mr. Draper. (leans in) Ourquestion was, what have you got?

Don stares back at Boorman, holding the mans gaze. Hes gotnothing.

13.

DON (CONTD)


14/52

Pete watches Dons hesitation, sensing this is his chance tomake his pitch. He opens his mouth, about to skirt thespecifics when interrupted by Pete.

PETEYoung women.

FACTORExcuse me?

Don is tight-lipped, pissed. Pete looks at him but continues.

PETEYour business is now run by young

women who want their men to smellyoung, exciting, but still markedlytheirs. We believe your brand canshake off its, (to FACTOR) forgive

me, rusty image and focus heavily

on the youth movement now floodingthe market. A young woman wants torelive the thrill she felt thefirst time she held her man close.Like your man, its tried and true,but fresh enough for you.

Absolute silence in the room. The ad team tense as Dons eyesburn a hole in Pete. Factor and Boorman thinking.

FACTORYou know? Thats exactly what I

want. Young, vital, relevant.

(turns to Don) Mr. Draper, thisworks.

DON(beat)

Good. (looks at Pete, but talkingto the clients) Im glad we see eyeto eye on this one. (stands up,everyone else follows his lead)Unfortunately, weve had a fewdisagreements as far as the bestartwork to go with. But if youre

able to return the day aftertomorrow, well have everythingready for you then.

Don does up a button on his jacket with one hand and shakestheir hands with the other. Factor and Boorman didnt expectthe meeting to be so brief.

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FACTORUh, of course, the day aftertomorrow is just grand. (turns toPete) Thank you, my boy. (back toDon) Well see you then.

DONGreat, just let Miss Holloway knowwhens most convenient before youleave.

Don gestures for Peggy to show them out. Factor and Boormanremain startled by the meetings abrupt close, but kindlyfollow Peggy out of the conference room. The door closes.

DON (CONTD)(to the room)

Out.

Everyone moves towards the door.

DON (CONTD)Campbell. Stay.

Pete stops, sags his shoulders a little and turns to Don,waiting in silence until the room is empty.

PETEDon, it worked. They loved it.

DONI dont care if they married it. I

told you not to pitch it.

PETEYou did. (beat) But you were aboutto drown without any other ideas.

DONI dont have ideas? You justrepackaged what every mensfragrance has been selling for thepast year.

PETEBut as you say, it sells.

DONIts embarrassing. Sterling Cooperis an industry leader, not somesecond-hand ideas chop shop. Ifyoure here, you lead.

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PETEAnd do you lead by locking yourselfin your office for a week anddelegating everything that needsteeth to your staff?

Don glares at him in silent rage.

PETE (CONTD)Im sorry, Don. But Im not goingto slow down for you. You didnthave any worthwhile ideas. I did.Simple as that.

Pete exits, leaving Don at a loss for words. He remainsstanding in the conference room alone, knowing hes beencalled out.

FADE OUT.

END OF ACT 1.

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ACT 2.

FADE IN.

INT. DON & BETTYS BEDROOM - NIGHT

Betty lays on her back in bed, awake in the middle of thenight. She tosses and turns, looks at the clock on Donsbedside table and then focuses in silence on his empty sideof the bed.

BOBBY (O.S.)(unsure)

Mooommmm?

Betty rolls onto her back.

BOBBY (O.S.) (CONTD)

(frightened)Moooooommmmm.

Betty sits up and climbs out of bed in her nightie. She exitsher room into--

INT. DRAPER UPSTAIRS HALLWAY - NIGHT

Betty continues towards Bobbys room.

BOBBYMoooommm...

INT. BOBBYS BEDROOM - NIGHT

Betty enters and walks over to Bobbys bed. He is frozen withhis face buried in the pillow. She gently touches his backbut he remains still. She notices the bed is wet with urineand picks him up to sit on her lap.

BETTYShh, shh. Whats wrong, Bobby?

BOBBY(crying, but muffledagainst her chest)

Im scared.

BETTYThere, there. Im here now. Nothingto be afraid of.

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BOBBYTheres a monster in my closet.

BETTYShh. Its ok. Its ok. You know,sometimes it can be scary just

because were not sure whatsthere. But theres nothing in thecloset (smiles) - just your Sundayclothes and your toys. I promise.

Betty looks over Bobbys shoulder at the still ominous, darkcloset. Betty gets a shiver up her spine. She picks her sonup, as much for her own comfort as for his.

BETTY (CONTD)Come on now, lets go and get

washed up. You can sleep with mommyfor the rest of the night.

Betty stands, carrying Bobby in her arms as she exits.

INT. DONS OFFICE - NIGHT

Don is clearly alone in the office. He looks over the MaxFactor file, dishevelled as his creative block refuses tobreak. He goes to refill his rye and then returns to hisdesk. Dons sits and closes his eyes, the camera pans in a 360degrees around his head as the scene cuts to flashback of--

INT. WHITMAN KITCHEN 1937 - EVENING

--where the back of Dons head has turned into the back ofhis childhood selfs head. The 360 degree pan continues toreveal the boy version of himself, looking anxious andfrightened. Audio fades in to hear his parents fighting.

DAD (O.S.)You know the crops are dust! Theharvests been dry since... Whatsthe point!? Every man in thecountry is taking to the road!

MOM (O.S.)(upset)

Please. Dont...

Cut to reveal Dons Mom and Dad arguing.

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DADBut I, I have to stay! Because ofyou and the damned kids! Imchained here. Trapped in a cage!

MOM

Dont say that! This is a hard timefor everyone. Were here for youtoo...

DADHere for me!? You live off mylabour! All of you! Itssuffocating!

MOMYou dont mean that!

DAD

Of course, I mean it! A man needsfreedom, a man needs opportunity -not chains! I shouldve left you,all this, ages ago!

Dons mom sobs, Don is paralyzed, unsure of what to do - thecamera zooms in to an extreme close-up on Dons tightlyclosed eyes as we hear his Dad smash a glass, his Mom screamin her sobs and the screen door slam shut as the Dad exits.Close-up of young Dons closed eyes fades to--

INT. DONS OFFICE - MORNING

Adult Dons eyes closed. Reverse shot shows the clock on hisdesk now reads 8.06. Camera pans back over desk to reveal theglass empty and Don slumped on the desk, fast asleep. Hestirs.


The office is alive and buzzing. Focus on Dons door and Janetyping at her desk outside. Don exits his office, more puttogether but still looking tired. He nods to Jane.

JANEMay I get you anything, Mr. Draper?Coffee?

DON(grimacing)

No, thank you. Im alright. Hold mycalls, Jane, Im going up to seeMr. Cooper.

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JANEYes, sir.

Don walks across the floor towards BURT COOPERs office.

INT. OUTSIDE COOPERS OFFICE - DAY

Don approaches Coopers office and stops sharply. In front ofCoopers closed door are two pairs of shoes. Someonesalready inside. At that moment, the door opens and Pete, DUCKPHILLIPS and Cooper step out of the office.

COOPERAhh, Don. We were just talkingabout the Max Factor account.Sounds like you boys have found asolid direction to take. (to allthree of them) Well done.

DUCKNo problem, sir.

PETEIt will honestly return a lot ofrelevance to the brand.

DUCKAnd as you were saying, whentheres blood in the water...

DON

Sir, Im not exactly sure how muchPhillips and Campbell have sold youon this idea. But its the wrongplay.

COOPER(pauses thoughtfully)

Oh?

DONIt doesnt bring relevance to thebrand. It makes themirrelevant. At

least beforehand they stood outfrom competitors, albeit in anegative way. We give them this andthey become just another product onthe shelf. Its white noise, sir.And you dont want your nameattached to it.

Duck and Pete squirm at Dons rebuke.

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COOPER(beat)

I see. (turns to Duck) And you wereaware of your Creative Directorsobjections?

DUCKI was. Campbell filled me in whenhe came to me with what hedsuccessfully pitched to the client.

Cooper eyes Pete who remains silent, trying to stay out ofthe fray.

COOPER(to Don)

So, whats your alternative?

DON

(a beat)Im still working that out.

PETEMr. Cooper, we can have our fullcampaign pitch - artwork, copy and

media - ready for tomorrowsmeeting.

Pete avoids Dons searing look.

COOPERRight. Indeed. (looks at Don)

Alright, Campbell. This is yourbaby. Run with it. (turns back toPete) But dont drop it.

PETEYes, sir. Of course.

COOPERDon, come inside.

The three employees exchange glances, Duck and Pete exit andDon takes off his shoes, following Cooper into his office. He

closes the door behind him.

DONWith all due respect, sir. You payme to make that call.

COOPERI do, dont I. (beat) Don,sometimes that killer instinct--

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DON--Sir, I--

COOPER(holding up a finger)

--Its not gone for good, but

sometimes it just gets dull. As forthe moment, this is an account wecant lose. And, while I agree thatCampbell certainly isnt winningany marks for originality, he sawthe easy sale and he went for it...Sometimes us predators have to besatisfied with injured prey.

DON(swallowing his pride)

Yes, sir.

COOPERGood. Thats all.

DONThank you, sir.

Don moves towards the door to exit.

COOPEROh, and Don. We never lose ourinstinct. Itll come back.

DON

Yes, sir.

Don exits.


Kinsey flirts with Jane at her desk outside Dons office, Donstorms past them and slams the door. Pete walks up to thepair, preparing to go in after Don as Jane reaches for theintercom.

PETE(to Jane)Dont buzz him, honey. Ill be ok.

KINSEYOf all the ideas youve had,Campbell, Im telling you, walkingin there right now might be the

worst.

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23/52

PETEReally. And whats he going to do?Murder me?

KINSEYFire you.

Pete looks at Kinsey, straightens his tie and proceedsbravely into--


Don stands hunched over his desk, propped up by his fists onthe tabletop. He looks up at Pete as the young man enters andcloses the door behind him.

PETEDon. I meant no disrespect going to

Cooper this morning. I briefedPhillips on the account and hedecided to call the meeting.

Pete pauses for a response. Don just looks at him, silent.

PETE (CONTD)The simple fact is, we have thesale. It might not be your idea,not your preference, but we stillhave it. Isnt that what matters?

Don remains unnervingly silent.

PETE (CONTD)Look. Just because youre gettinglazy and pumping out mediocritydoesnt mean your entire departmentshould suffer.

DON(after a beat, evenly)

Its a bad idea, Campbell. Its theeasy play. Amateur. The nameSterling Cooper warrants more.

PETESterling Cooper does deserve more.And this is it.

DONYou just dont get it, do you.

PETEI guess not.

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DON(dismissively)

Go ask Peggy. Get some measure ofwhat it means to etch out a goodname for yourself.

PETEPeggy!? Please! Ive brought intwice as many clients as she hasthis past quarter. (petulant) Youknow I shouldve gotten thatpromotion you handed her. Ideserved it.

Don looks on with fierce calm.

PETE (CONTD)Come on! Shes a joke. Shed agree

with anything you say. The only

reason you promoted her was toflatter Don Drapers monstrous ego.Its me challenging when you getsoft. Im the one with the killerinstinct, closing clients for thefirm while its Creative Directorhas gone MIA.

Pete finishes the rant and waits for a reaction. Don is slowto walk around the desk and straight up to Pete, stoppinginches from his face.

DON

You claim to know my history, mypast, and you think it wise toquestion mykiller instinct? Yourea child, Pete. You could neverchallenge me. Now, get out.

Pete holds his ground for a moment, but then thinks better ofit and exits.

EXT. HORSEBACK RIDING CLUB - DAY

Betty at the stables with her friend, and fellow housewife,FRANCINE (whose husband recently cheated on her). Betty, moreput together for her exertion, still looks over-tired and

weary.

BETTYHow could he ever do that to hisfamily? Sorry, but thats what Ijust do not understand.

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25/52

FRANCINENeither do I. And the more I ask

myself that, the more enraged Iget. Was everything faked? Was itjust this once? How many other

women?

BETTYYou cant think like that,Francine. You cant.

FRANCINEI just dont know what to do.

BETTYYou have to confront him.

FRANCINEBut what if its all in my head.

BETTYFrancine, every part of yourstory... its not just in yourhead. And youll never be able to

move forward until you know.

FRANCINEWhat if I dont want to moveforward? What if all I ever want todo is move back?

Betty pauses, unsure of how to console her any further.

FRANCINE (CONTD)Youre so lucky, Bets. To have astand-up guy like Don. Dont everlet him go.

Betty feigns a smile.

FRANCINE (CONTD)Are you OK? You look positivelyexhausted.

BETTYI fell asleep after the childrenwent to school this morning andlost track of the time. Truth betold, I havent been sleeping much.

Betty pauses to take a long drag of her cigarette. Francinepatiently looks on.

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26/52

BETTY (CONTD)Bobbys been having nightmares. Atleast one a night. Hes scared of

what he thinks is in his closet. Itry to calm him, reassure him.Sometimes it works. Sometimes it

doesnt. He cant stop looking atthat door. It terrifies him notknowing whats on the other side ofit, his imagination filling in theblanks...

FRANCINEPoor kid... Don must do a great jobcomforting him, though.

BETTY(beat)

Oh yes. Of course.

Betty takes another drag of the cigarette, thinking aboutwhat shes just said. She takes the pause in conversation asan opportunity to shift the increasingly uncomfortable topic.She motions over Francines shoulder and her friend followsher gaze.

BETTY (CONTD)Look, here comes Hank. Hope hes ina good mood today.

HANK, their very masculine riding instructor, approaches thetwo ladies - though is still out of earshot. Francine turns

back to Betty.

FRANCINEOh, please, Bets. You know as wellas I do that the poor man has ahopeless crush on you. Looks likehes on the prowl today...

Betty doesnt acknowledge the comment, finishing hercigarette with a long drag before a smile hints at thecorners of her mouth.

INT. STERLING COOPER FLOOR - NIGHT

Everyone packing up to go home. Kinsey and Cosgrove bothapproach Jane, looking for her attention as she covers hertypewriter.

JANEGentlemen.

26.


27/52

KINSEYAll finished then? Because a bunchof the girls are coming with us tothe Roosevelt for drinks. What doyou say?

JANEHmm.

COSGROVEAnd. Theyve got a madman on thehorn tonight, a Miles Davis

wannabe, but still, youd be sorryto miss him.

JANE(standing)

If thats true, how could a girlrefuse?

Cosgrove and Kinsey both grin widely.

JANE (CONTD)But if I get there and find theresbeen false advertising... Needlessto say, (with a teasing pout) Illbe very disappointed.

KINSEYI can assure you, Miss Siegel. That

wont be the case.

Cosgrove picks up her coat from the back of her chair andholds it for her to step into.

COSGROVEThis way.

The threesome walks joyfully to the front of the emptyingoffice to join a crowd itching to get going, Pete among them.As the three pass Peggys office we focus on her open doorand see her, at her desk, watching the crowd for a momentbefore turning back to a pile of work before her.

INT. BAR - NIGHT

Don enters the respectably busy bar alone, taking off his hatand coat while surveying the scene. Though its very familiarground, he shifts uncomfortably, uneasy about beingchallenged earlier in the day, doubting himself. He walks tothe vacant bar.

27.


28/52

BARTENDERWhatre you having?

DONOld Fashioned.

He sits at the bar and waits for the drink. While thebartender pours, Don focusses on his wedding ring. He takesit off and spins it on the bar. The bartender gives Don hisdrink, which Don immediately swallows.

BARTENDERAnother?

Don glances around and sees a group of young men withbeautiful women at a table, all laughing, the young predatorson the hunt. Two pretty women enter, both walk past him atthe bar without a glance and join the young table.

Don stands up and drops a bill on the bar and swipes hiswedding ring from the bar.

BARTENDERHave a good night.

Don snorts, abruptly turns and exits the bar.

FADE OUT.

END OF ACT 2.

28.


29/52

ACT 3.

FADE IN.

INT. PEGGYS OFFICE - NIGHT

In a small, dingy two person office, Peggy sits alone, theonly one left at Sterling Cooper. She busies herself with alarge stack of work as the phone rings. She answers it.

PEGGYHello?... Mom, hi... Working. Yes,I have a lot of stuff to do beforeI can leave the office-- Right.Well. Thanks anyway... No, no.Dont be embarrassed and dontexaggerate. Im sure hellunderstand... The weekend? Oh, I

dont think so. You know I donthave time for guys right now...(sighs) No, no... You know I haveto if I want to be takenseriously... No, thanks, but Ialready know enough nice men...Right, right... Yes. You too.Goodnight.

Peggy hangs up the phone and pauses for a moment beforeturning her attention back to the work in front of her.

INT. ROOSEVELT HOTEL BAR - NIGHT

Cosgrove and Kinsey laugh loudly together. The shot widens tosee the rest of the bar, packed with people, many fromSterling Cooper - all having a great time.

KINSEYSo the man has no idea where hispants are, hes soaking wet and thetrain will be at the station inthree minutes where his wife is

waiting for him on the platform!

The two continue to laugh at the end of the story and take aswig of their rye. Cosgrove glances behind them at Jane,

whos seated with a number of girls from the office.

COSGROVE(still chuckling)

Look at that unicorn.

He turns back to the bar as Kinsey, too, glances quickly.

29.


30/52

KINSEYA thoroughbred amongst the masses.

COSGROVEListen. Some gentlemanly sporttonight. Whoever can guess the

drink most to her liking getsunobstructed passage to thepromised land.

KINSEY(smiles)

Done. (raises his glass) May thebest man win.

They cheers and finish their drinks. The bartender waits asthey ponder and order a drink each for Jane.

KINSEY (CONTD)

A hard backbone. Rough but smoothat the same time. A sweet, citrusveneer. Lay down one HarveyWallbanger.

The bartender moves to pour the drink and set it down.Cosgrove seems impressed.

COSGROVERespectable. But not quite there.(glances over his shoulder at her)Shes exotic, through and through.A tropical specimen in a sea of

banality, begging for some fun. Sheneeds a Harpoon.

KINSEYImpressive. But I stand by mine.

The bartender sets down the second cocktail. They both picktheir fruity choices up and look at each other.

KINSEY (CONTD)Once more unto the breach?

The two men confidently turn and move through the crowdtowards Janes table, drinks in hand. As the crowd parts justbefore the table, Jane is standing in conversation with anunknown young man - ALEX. She turns to Cosgrove and Kinsey,smiling.

JANEHi, boys.

30.


31/52

KINSEYJane.

JANE(introducing the man)

This is Alex. Hes a pilot with

PanAm. He was just telling me abouthow hes been to Hawaii nine timesthis year! Isnt that justincredible!

The boys glare at Alex, as Alex responds with a wide grin.They turn to see Jane taking a sip of her drink. Its a

whiskey, straight up. She focusses on the colorful drinkstheyve brought for her.

ALEX(mockingly)

Love the drinks, gentlemen. I bet

youre both all kinds of fun.

Cosgrove and Kinsey are stunned by the turn of events. Theylook at each other.

COSGROVE(stammering)

Yeah. Thats us.

KINSEYFun.

They try to play it cool as though they didnt buy the drinks

for Jane. Both take a sip, emasculated, trying to save face.

INT. PETES APARTMENT - NIGHT

Pete enters and finds Trudy serving dessert to the Austens,BRIAN and SHELLEY, both a slight bit older than Pete andTrudy, pretentious and stuffy. Hes missed dinner. If bynothing else, he remembers by the look Trudy is shooting himthrough her fake smile.

TRUDY

Honey! Welcome home. Youre just intime for dessert!

BRIANAbout time, sport! Old Bert Cooperhave you running the gauntlet overon Madison?

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PETE(smiling)

Something like that. Sorry Imlate, dear.

Pete leans in and kisses Trudy, who detects hes had a few

drinks after work instead of coming straight home.

SHELLEYYour wifes duck was superb!

BRIANAbsolutely, chap. A real shame you

missed it. Come on now, sit down.Its your own table.

Pete smiles and sits at his set place, Trudy serves him aslice of black forest cake.

PETESo, Brian, tell me. How have thingsbeen in the market?

BRIANExcellent! We thought wed taken ahit last quarter, but so far itsrebounded and then some the pastfew months.

SHELLEYBrians taking me to Italy in three

weeks! I can hardly wait, its been

a few years since I was last there.

TRUDYThats fantastic! You must be soexcited! We havent been able toget out of the city since ourhoneymoon, Petes just been sobusy.

PETEYes, well, Ive been making somesizeable strides at Sterling

Cooper. In all honesty, I should berunning the department. Everybodythere thinks so. The creativedirectors getting a little long inthe tooth. But, with this nextproject, I think I might have himand his corner office (pause) well,cornered. (reaches over andsqueezes Trudys hand)

32.


33/52

BRIANBrilliant! Congratulations are inorder!

Pete looks at Trudy and smiles, shes back to being proud ofhim again at hearing the news.

BRIAN (CONTD)Tell me all about the campaign andIll be sure to tell everyone tokeep an eye out for Pete Campbellsfine work.

Pete swells with pride and starts in on his pitch.

PETESurely youre familiar with MaxFactor perfumes...

INT. DRAPER FOYER - NIGHT

Don enters, takes off his coat and hat and sets down hisbriefcase.

DONHello?

SALLY & BOBBY (O.S.)Daddy!!

Sally and Bobby come running down the stairs into the front

foyer and hang off each of Dons legs. Betty follows,standing unimpressed against the stairs.

BETTYGive Daddy some space, hes been ona trip.

DON(to Betty)

Hi.

BETTY

Hi. (to kids) Go on, keep ongetting ready for bed. Let Daddycome in.

Sally and Bobby run upstairs leaving husband and wife alone.

BETTY (CONTD)(pause)

Whereve you been?

33.


34/52

DONThe office. (pause) Things havebeen kind of rough this past week.

BETTY(skeptical)

The office.

DONRight now, Birdie?

BETTY(stares blankly at him,letting it go)

You need to sit down with your son.He wet the bed last night.Nightmares about a monster in thecloset. Turns out, his teacherscared him half to death making his

class listen to some piece ofRussian music, some story about a

wolf and a young boy? I dont likeit. If you ask me, the whole thingsa little red.

DON(snorting, trying to makelight)

Prokofiev. About as red, white andblue as a Russian can get, I guess.

BETTY

Don.

DONIll talk to him.

BETTYGood. (pause) Theyve missed you.

DONTheyve missed me.

BETTY

(sharply)You havent been home for twonights now...

DONBets.

BETTYNo really, Don. You tell me. Whatam I supposed to think?

34.


35/52

Don moves forwards and kisses her forehead, but Betty doesntmove.

DONYoure supposed to trust me.

Don walks past her upstairs. Betty remains alone in the frontof the house, biting her lip.

INT. BOBBY & SALLYS BEDROOM - NIGHT

Don stands in the doorway, the room dark, the children inbed, his figure backlit from the hallway. He quietly walksinto the room as to not rouse the kids, sitting on the edgeof Bobbys bed, brushing the sleepy boys hair out of hisface.

DON

(quiet)Hey Bobby.

BOBBY(sleepy)

Dad?

DONIve missed you.

BOBBYMe too. (pause) Im scared.

DONOf what?

BOBBYThe wolf. Im afraid hes gonna eat

me when I fall asleep.

Don picks Bobby up from the sheets and sits him on his knee.

DONHey. There are no wolves in ourneighborhood. And definitely not in

your room.

BOBBYBut the boy in the story, he almostdied.

DONPeter, right?

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BOBBY(quiet)

Yeah.

DONIts just a story, Bobby. Youre

safe.

BOBBYBut what if Im not, what if therereally is a wolf, what if he comesout of my closet when I fallasleep?!

DONIn the story... Peter catches the

wolf, right?

BOBBY

Right.

DONAnd what happens to it?

BOBBYIt gets taken away to the zoo.

DONAnd locked away.

BOBBY(nodding)

Locked away.

Don feigns a reassuring smile. He looks at his wedding ringas his hand rests on his sons shoulder.

BOBBY (CONTD)So he cant hurt anyone?

Don realizes that hes been feeling trapped and neutered,shown through a shift in his mood - from amused comforting ofhis son, to equally as disturbed.

DONExactly. (pause) See, kiddo?Nothing to worry about.

Don gives him a kiss on the forehead and sets him back intobed, tucking him in.

BOBBYDad? Can the wolf ever get out ofhis cage?

36.


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Don thinks and doesnt answer his son.

DONClose your eyes and get some sleep,Bobby.

BOBBYGoodnight, Dad.

DONGoodnight.

Don exits the room, closing the door behind him. He looksaround the empty hallway with the closed doors: the wolfscage. The camera fades to black and after a beat we hear thesound of a telephone ringing. After one ring, we see--

INT. DRAPER BEDROOM - DAY

--where Don is woken up by the phone. He sits upright in bed,looking behind him and seeing Bettys side empty - shesalready started her day without waking him... The phone ringsagain, but the sound is cut off mid-ring, its been picked updownstairs.

Don gets up and dresses. He can hear the kids running arounddownstairs and shouting, but he can also hear Betty laughing.He exits the room to go downstairs with jacket in hand andtie still untied.

INT. DRAPER UPSTAIRS HALLWAY - DAY

Don casually descends the stairs with a frown on his face ashe hears Bettys laughter.

BETTY (O.S.)(happy)

No, no. You know thats not true. Iamgetting better! Youre just

making fun of me...

Don gets to the bottom of the stairs, pausing to tie his tie

as he continues listening.

BETTY (O.S.) (CONTD)(laughing)

Well, maybe I needed a littlehelp...

Betty continues to laugh as Don moves through the doorwayinto--

37.


38/52

INT. DRAPER KITCHEN - DAY

--where Betty is standing at the phone, smiling, as the kidsare running around the kitchen table, just finished theirbreakfasts. She sees Don enter and holds his accusing stare,unflinching.

BETTYRight, right. I need to go. Butthank you for checking, and yes, Ican make the new time... Yes, youtoo... Have a nice day.

Betty hangs up the phone and begins to clear away dishes fromthe table.

BETTY (CONTD)(icily)

Good morning.

DON(motioning to the phone)

Who was that?

BETTYKids, go get ready for Carla.

The kids run out of the kitchen and upstairs to get ready forschool.

DONBetty. Who was that?

BETTYThat was Hank. My instructor at theriding club. You met him at theluncheon in April?

DONI know who Hank is. What was hedoing flirting with you?

BETTYDon, please, youre overreacting.

He was just letting me know that hehad to reschedule a lesson.

DONOverreacting? You were embarrassingyourself.

BETTY(frozen, defensive)

Stop it.

38.

(MORE)


39/52

(pause) We never have any fun. Youhavent been around to have any.Hes funny. Thats all.

DON(snorts)

Funny!? I dont want any mancalling myhome to speak to mywife! It isnt right.

BETTY(harshly)

Im the one whos been sleepingalone in yourbed every night.

DONYoure right. Im the one tied up

working in that office every night.For you. For this. (nods to the

stairs) For them. (pauses) Forgetit. I dont have time for this. Idont need another child to lookafter. Grow up, Bets.

Don storms past her, escaping through the front door. Bettyturns around but doesnt follow. She closes her eyes, jumpingas Don slams the front door off-screen on the way out.

FADE OUT.

END OF ACT 3.

39.

BETTY (CONT'D)


40/52

ACT 4.

FADE IN.

EXT. MENCKENS DEPARTMENT STORE - DAY

Don stands across the street from Menckens Department Store,smoking as he looks up at the frontage. He looks around atall the suits bustling around the street, on their way to

work. All men. All dressed the same. All expressionless. Hecrosses the street towards the entrance and--

INT. MENCKENS DEPARTMENT STORE - DAY

--enters the revolving doors. He makes his way deliberatelyto the perfumes and observes the scene. All the posters areof the variety endorsed by Petes campaign. The section is

populated primarily by women and heads turn as the lone malewanders through the crowd. They are all crowded in bunches,unsuspecting to his observing them. He watches them briefly,one to another, like targets, as a hunter would his prey. Oneattractive, young saleswoman - her name is AMY - approachesthe out-of-place alpha male.

AMYGood morning, sir. Welcome toMenckens can I help you?

DONIm actually just looking around,

thank you.

AMY(smiling)

Very well, my name is Amy if youhave any questions.

Amy begins to walk away--

DONAmy.

She turns.

DON (CONTD)Do you have a boyfriend?

AMY(smiling, flattered)

A fianc, sir, yes. Why?

40.


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DON(smiling as well)

Ah, no, no, I was just curiousabout his cologne.

AMY

How so?

DONDoes he choose it?

AMYOh, I choose it. Definitely.

DONWhy is that?

AMYIndifference, on his part. (pauses,

thinking) And I guess I want him tosmell the way I want him to smell.Yeah.

DONThanks. And, for curiosity's sake,

what would you think of a man whowas set on his own scent, who madeit a part of who he was?

AMYAre we talking about a handsome,dashing man such as yourself?

DON(laughing)

Why not?


Roger Sterling walks the floor with purpose, arriving atDons office. Jane isnt at her desk and Sterling proceedsinto--


This, too, is empty. Sterling looks around, checks his watchand then briskly leaves the office, back onto--


--where Jane is now returning to her desk from lunch.

41.


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STERLINGSweetheart, do you know Mr.Drapers whereabouts?

JANEIm sorry, Mr. Sterling. Mr. Draper

actually hasnt been in all day. Hehasnt left any messages either.

Sterling frowns and again checks his watch.

STERLINGHuh.

JANEIs there anything I can do?

STERLING(smiles)

No, thank you, Jane. (flirting)Well, not at the moment... Just letDon know that the Factor meetinghas been moved up to 2 oclock.

JANEYes, sir.

STERLINGGood girl.

Sterling walks away, again with as much purpose as before.

INT. MOVIE THEATER - DAY

A dark and empty matinee, a downtown theater plays theclassic Russian war film. Don Draper is one of the few spreadthroughout the auditorium. Cut between clips of a large scale

military battle on a frozen lake and Dons face illuminatedby the black and white cinema lights. Don looks at his watchand stands up to exit the theater to--

EXT. THEATER MARQUEE - DAY

--where Don hails a cab to Madison Avenue, we can see theMarquee reads Alexander Nevsky.

INT. STERLING COOPER CONFERENCE ROOM - DAY

The ad team is assembled again around the conference table,this time with Sterling at the head of the proceedingsinstead of the absent Don.

42.


43/52

Both Factor and Boorman are in attendance for the fleshed outpitch. Sterling is at the drinks cart.

STERLINGDrink, fellas?

FACTORYes, thank you.

Boorman nods.

FACTOR (CONTD)So, are we waiting on Mr. Draper?Or has he been detained elsewhere?

The staff shift, knowing Dons been out of sight lately.

STERLINGFunny you should mention that, but

hes actually--

DON--Sorry Im late gentlemen.

Don enters the conference room with his trademark swagger. Heshakes both clients hands before taking Sterlings seat atthe head of the table.

DON (CONTD)Wouldnt want to keep you all

waiting any longer than we alreadyhave.

STERLINGPerfect. (hands the drinks toFactor and Boorman) Lets get downto some business.

Sterling looks squarely at Don.

STERLING (CONTD)Campbell?

Pete draws himself together for the pitch, determined to

close the deal in spite of Dons unnerving arrival.

PETESo, we began last time to explore anew niche for your storiedfragrances. Market indicators pointtowards the increased purchasingpower of young women everywhere.

43.

(MORE)


44/52

We want to capitalize on that andsell your new mens line as onethat appeals to what women want--

DON--But of course, then we remembered

the immutable fact that your newproduct is designed exclusively formen. And we decided to go in adifferent direction.

Factor and Boorman look surprised, and in their surprise theythankfully dont notice the similar shock on Petes face, noron those of the rest of Dons team.

DON (CONTD)Bear with me here, Mr. Factor, Mr.Boorman. You do need a freshapproach. But to do so as yet

another in the multitudes ofadolescent, female fads would becheap. It is true that women havelargely taken over the cologne

market, along with those ofclothing, alcohol and automobiles.But thats exactly why yours willstand out.

Don now has the undivided attention of the two execs and thecuriosity of his own colleagues. A man in his element, hebegins to pitch.

DON (CONTD)Youll heavily target menspublications, mens television,

mens newspapers. Men encouraged totake their scent, their veryidentity, back into their ownhands. You see, men are manythings. Employees, husbands,fathers: yes. But also warriors,hunters, and predators. Yet we livein an age where it seems that everyday men are being made to be more

gentle, safe and even domesticated.Men have allowed themselves to bedefined by the women in theirlives. And some men have allowedthemselves to be caged. The modern

mans battlefield is the office,his conquests are women. And thoughblood is rarely spilt, he is stillon the hunt. He still claws toothand nail to make the deal.

44.

PETE (CONT'D)

(MORE)


45/52

He must embrace his killerinstinct, not let it go. (looksbriefly at Pete) Whatever it takesto be the man you want to be.(pauses) Why allow her to choose?Why allow yourself to be chained,

when you can be free? Max Factor -Freedom: Be the man you want tobe.

Factor and Boorman sit speechless, they turn and look at eachother for a moment before Factor turns to Sterling.

FACTORSterling, you have yourself acampaign. (looking to Don) And onehell of a salesman.

Sterling looks at Don, nods. Pete is dumbfounded at what just

happened. In a mere minute he lost the account.

STERLINGThank you for your time then,gentlemen.

Sterling extends his hand as the two execs stand up.

STERLING (CONTD)It sounds like weve got some workto do.

All parties shake hands, Factor holds firm grip on Dons.

FACTORYour reputation proceeded you, Mr.Draper, and you sure dontdisappoint!

Don nods. Factor and Boorman exit the room, as the doorcloses behind them a collective sigh is released.

SAL(motioning to his coveredposters as he breaks the

silence)So, Im guessing we wont needthese anymore...

STERLINGAlright, everyone. Back to work.Sal, Crane, Olsen. Follow Don onthis one and flesh it out. (looksat Don) Alls said and done, youllstill need the female voice.

45.

DON (CONTD)


46/52

DON(nods)

Of course.

PETE(to Sterling)

Sir, I...

STERLING(walking out the door)

Save it, Campbell. I just do notcare.

Everyone files out of the room, except Don. Pete, the last inline to leave, closes the door over and turns to face Don.

PETE(snorts, shaking his head)

Twisting in the wind for weeks as

you were, Id actually begun tocount you down and out.

Don looks at him, theres a significant pause before hereplies.

DON(slowly)

If you ever try to corner me likethat again, Ill eat you alive.

PETEWere on the same team, Don. Its

not like youre my enemy...

DONAnd that, Campbell, is why yourenot a killer.

Pete snorts, turns and, with whatever dignity he can muster,exits silently onto--


--where we follow Pete as he walks the floor, defeated, buttorn between feeling angry and inspired by Don stealing thepitch. He briskly passes Peggy, who the camera begins tofollow as she makes her way to--

INT. STERLING COOPER BREAKROOM - DAY

--where she pours herself a cup of coffee. JOAN HOLLOWAYarrives and waits behind Peggy for the coffee.

46.


47/52

JOANCoffee for yourself. Now thatssomething to be proud of.

PEGGYIve just got a lot of work to do

tonight.

JOAN(while pouring)

Well, a few of us not-so-high-and-mighty ladies are heading out earlyfor a drink. You should come.(motions to how uptight Peggylooks) It would do you good.

PEGGYNo... Thank you though.

Peggy nods to Joan and begins to exit.

JOAN(casually over hershoulder)

You know, you dont have to breakyour back for them.

Peggy stops in the doorway and turns around.

PEGGYIm sorry?

Joan turns from the coffee to face her as well.

JOANThe boys.

PEGGYI just want to work hard, thatsall--

JOAN(interrupting her,thinking aloud)

You know, everyone likes to thinkthat these men control us.

Peggy stands and blinks, looking at Joan, unsure of what tosay.

JOAN (CONTD)You might be getting your owncoffee. I might be getting theirs.

47.

(MORE)


48/52

(she walks to Peggy and looks overher shoulder onto the floor ofSterling Cooper, nodding to Peggysoffice) But youve been runningyourself into the ground. For what?(pause)

Peggy frowns at this rhetorical question, shes guardedaround Joan and what the older womans trying to say.

JOAN (CONTD)(sighing)

Let them do their own work, honey.Because when alls said and done,they work for us. To get us andkeep us. And if we know that,(smiles) we can devour them.

Joan exits the room with coffee in hand, leaving Peggy in the

doorway thinking about what was said. Peggy stares down intoher coffee, then turns her gaze to her office across thefloor - door open, empty, work piled high.


Jane, puts away her typewriter and begins to put on her coat,ready to leave for the evening. Cosgrove approaches with a

welcoming smile on his face.

JANE(returning the smile)

Ken! How are you doing? Everyonesso happy about how your meeting

went!

COSGROVEYeah, against all odds, it actuallyturned out great. Vintage Draper.(laughs) Look, I wanted to see ifyoud let me buy you dinnertonight.

JANE

(smiling)Thats really sweet of you! (pause)Unfortunately, I already haveplans...

Kinsey walks up to the two of them, also smiling warmly.Cosgroves face shifts, a little jealous of Kinsey.

48.

JOAN (CONTD)


49/52

COSGROVEHats off to you ol boy. Where arethe two of you going?

KINSEYSorry?

JANE(interceding, withlaughter)

Oh, sorry. Not dinner with Paul.No, with another gentleman.

KINSEYHuh?

COSGROVEAh. I see.

Jane picks up her purse and moves around her desk, about toleave.

JANEI dont mean to be rude. But you

wouldnt want a lady to be latenow, would you?

COSGROVEOh, of course not.

KINSEYNot at all, dear.

JANEThank you then. And again, verysweet. Ill see you both tomorrow.Bye bye.

Jane exits as the boys bid her a good evening.

KINSEYGoodnight, Jane.

COSGROVE

Goodnight.

Cosgrove and Kinsey both stare at her ass in a reverie as shewalks away.

KINSEY(without breaking hisgaze)

Shut down?

49.


50/52

COSGROVE(also still staring)

Yeah. (pause) You too?

KINSEYTwenty minutes ago.

COSGROVEDamn.

KINSEY(after a beat, but stillin his daze)

We definitely need to elevate ourgame.

COSGROVEAgreed.

Without turning back to each other at all, the pair splitapart at the same moment and walk away in oppositedirections.

INT. PETES APARTMENT - NIGHT

Pete enters his apartment, quiet and sulking. He puts downhis coat and jacket and sits on the couch. Trudy emerges fromthe bedroom, standing in the doorway.

TRUDYHowd it go?

Pete doesnt answer her.

TRUDY (CONTD)Pete?

PETE(unenthusiastically)

Great, dear. Just great.

Trudy comes over to the couch to sit with him.

TRUDY(smiling)Wonderful! Im so glad. Im soproud of you, Pete. Now, the Greensare coming early next week and Ivealso made plans to visit theAshbys. Please make sure youre notlate this time.

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51/52

PETE(smiling thinly)

Ill be there.

TRUDYOh, and I bought a new armoire

today for the spare bedroom.

Trudy gets up, leading the way to the spare bedroom. Petedoesnt follow, she pauses.

TRUDY (CONTD)Arent you coming? Youllabsolutely love it!

PETESorry, dear. Right behind you.

Pete gets up and follows Trudys lead out of the room.

INT. BAR - NIGHT

Don sits alone at a dimly lit Manhattan bar, cigarettehanging from his mouth, an Old Fashioned in one hand, his

wedding ring loose in the other. He slips the ring into hisjacket pocket and turns to take in the room - quietlythinking, observing, scribbling copy onto a napkin. Abeautiful young woman sits beside him.

WOMANHi, there.

DONHi.

WOMANWhat are you doing?

DON(amused)

Writing.

WOMAN

Of course, anyone could see that.But what are you writing?

DONDoesnt matter. Just writing.Havent in quite some time.

WOMAN(flirting)

A bit out of practice then, are we?

51.


52/52

Don looks her in the eye. Sizing her up, he takes a long lastdrag of his cigarette before stubbing it out. He smiles wideat her, a gleam in his eye, his teeth hungry.

DON(smiling)

I wouldnt really say that.

INT. DRAPER BEDROOM - NIGHT

Betty laying in bed with the lights off, awake. Alone. Again.She traces her fingers down Dons pillow and looks down hisempty side of the mattress. She then looks up at the dark,open bedroom door - the wolf is out there, on the prowl. Theshot closes in on the dark bedroom doorway.

FADE OUT.

END OF ACT 4.

END CREDITS - CUE The Wolf Movement fromPeter and the Wolfby Sergei Prokofiev.

THE END.

52.

Mad Men - Peter and the Wolf

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Transcript of Mad Men - Peter and the Wolf