mad men_ tasteless trash rmr

7/28/2019 Mad Men_ Tasteless Trash RMR

1/51

MAD MEN

Tasteless Trash

Rachael Roache

Rachael Roache708.478.342719421 Kylemore LaneMokena, IL [email protected]


2/51

Previously on MAD MEN: Though he is back to his womanizingways, Don Draper still harbors smoldering resentment towardshis ex-wife Betty and Harry, her new husband. As theproblems in his present intensify, complications stemmingfrom his days as an identity-stealing soldier in the KoreanWar continue to surface. Meanwhile, at Sterling Cooper (this

episode occurs before the Lane Pryce character wasintroduced), Peggy feels the sting of sexism as her workis dismissed by her closed-minded mentor, Don.

Culturally, the Pop-Art movement is experiencing anastronomical rise in popularity. Its figurehead, AndyWarhol, and his muse, Edie Sedgwick are quickly becoming artworld darlings and cultural icons. The title of thisepisode, Tasteless Trash, is a reference to art criticKirk Varnedoes review of Warhols work where he lamentedthat his paintings were, ...crudely anonymous, out-of-date,tasteless trash.

..

.

.

.

.

.

.

.

.

.

.

.

.

.

..

.


3/51

FADE IN:

INT. OFFICE - DAY - (FLASHBACK)

A cramped, poorly lit office where a young DON DRAPER sitsat his nondescript desk in a row of others - a cog in the

machine.

He unscrews a can of CHEEZ WHIZ. He sniffs it, grimaces.

JEREMY HAYES, 22, a pale, moon-faced man with stringy hairstands awkwardly over Don. He clutches a cardboard boxsloppily stuffed with supplies.

He hovers for a moment then CLEARS his THROAT.

Don jumps in his desk, startled, but quickly regains hiscomposure. He lifts the open jar up to Jeremy.

DONI cant believe people are actuallyeating this stuff. Where Im fromcheese is a solid, not a liquidgoop.

Jeremy smiles but it seems forced.

JEREMYI think thats why they spell itwith a z - that, or their lawyersmade them. Im Jeremy. JeremyHayes.

He balances the box awkwardly to shake Dons hand.

JEREMYThe bossman told me to move mystuff over here. Pretty sure hethinks Im spooking the clientssitting so close to the door.

DONIm Don. Draper. Why would he thinkthat?

Jeremy smiles, shrugs as he starts unpacking his supplies onthe vacant desk adjacent to Dons.

JEREMYYoull find out soon enough, eh?

He sets several tubes of watercolors and piles ofSKETCHBOOKS on the desk.


4/51

2.

DONEh? So youre an artist and aCanuck?

JEREMYHa. One outta two. Im from the the

U.P. Sometimes I wish I was born upthere though. I might still haveall of my left half.

Don looks at him quizzically but before Jeremy can clarify,their boss, NINO, 50s, invades their space. He is abeady-eyed, angry man whose potbelly threatens to burst outof his cheap dress shirt.

NINO(gruffly)

You done with that copy for Kraftyet?

DONWorking on it, boss.

NINOIt better not be anything like thatcrap you tried to pass of lastweek. It was so goddamn cheesy.

DONCheesy? Hey, Nino, youre prettygood at this.

He nods towards the bottle of Cheez Whiz.

NINOIf I paid you for your sense ofhumor youd be broke. Back to work.

He turns to Jeremy who rifles through his sketches.

NINOAnd howre the sketches for theUnited Hawaii bid turning out?

JEREMYUhhh...let me find them.

Jeremy awkwardly dumps handfuls of pencils and trinkets onhis desk as he searches his belongings.

Nino SIGHS impatiently.


5/51

3.

Dons eyes widen as he notices a bright BLUE ARMY RIBBONentangled with Jeremys supplies. The words, "KOREANSERVICE" are emblazoned on the attached copper medal.

INSERT - DRAWING

Jeremy unfurls a vibrant ILLUSTRATION of a couple embracingeach other tenderly as they look off into a tropical sunset.

BACK TO SCENE

Nino nods grudgingly.

NINOLooks alright. Thats why we payyou the big bucks, kid!

He SLAPS Jeremy heartily on his back. Jeremy winces. HisHANDS TREMBLE even after Nino waddles away.

BACK TO PRESENT

INT. STERLING COOPER AGENCY - DONS OFFICE

Don Draper sits at his desk inside a corner office with aview of the veins of New York city. His eyes are a millionmiles away.

The VOICE on his INTERCOM YELLS.

COOPER (O.S)

Don...Don...Don? Damn it, Don, areyou in there?

Don shakes his head, trying to expel the memory.

DONJesus, Bert, Im right here.

COOPER (O.S)Well, you need to be in HERE. Rogerand I need a word word with you.

DONIn a minute. Im wrapping up-

COOPER (O.S)Now.

The intercom clicks off. Don furrows his brows.

INT. BERT COOPERS OFFICE - CONTINUOUS


6/51

4.

The white, luxurious space borders on the edge of 1960sgood taste. Several Asian art pieces decorate the wall.

A dapper, silver haired ROGER STERLING lounges in a chairwhile a stoic BERT COOPER peruses a packet of papers.

As Don enters Bert pushes the packet across his desk.

INSERT SHOT - PAPERS

A wrinkled, torn, stained packet with the title page: MILLERHIGH LIFE CROSS PROMO PROPOSAL By Peggy Olsen

BACK TO SCENE

COOPERCare to elaborate?

Don picks it up, shrugs dismissively.

DONIt was a proposal from our copygirl, Peggy. She had thisridiculous idea to hire that hackpainter, Warhol, to do some kind ofpartnership with Miller High Life.

COOPERWe can read, Don. What we want toknow is what a proposal of thiscaliber was doing in your trashcan?

DONAnd Id like to know what you weredoing in there? I know things aretight around here, but you dontneed to go digging for scraps-

He tosses the packet back on Coopers desk.

DON- literally.

COOPER

No need to get defensive, Don.

DONTheres nothing to defend. We donthave the money to court anarrogant, talentless artist forsome stunt. Weve got enough ofthem here. And we definitely dontwant some cheap publicity stunt.


7/51

5.

STERLINGYou dont, but Miller might. Theycalled over here last night. VP ofDevelopment told me that for theright concept, "money would not bean issue."

DONMoney is always an issue.

He lights a cigarette.

STERLINGPerhaps. But he was quiteinsistent. Tried to pin me in acorner. He heard how differentDon Draper is and wanted proof.

DON

Proof? Jesus, they signed lastweek. The ink is still wet.

Don stares out the window, exhales a stream of smoke.

STERLINGTheyre a big account, Don. Theyreused to getting what they want -and quickly too. Lucky for me someguardian angel left that proposalon my desk, so I thought, why thehell not?

Don turns back from the window to face him.

DONYou didnt.

COOPERIndeed he did. And Miller loved it.They said its exactly theinnovative thinking they have beenlooking for and they cant wait tohear Warhols response.

STERLINGHe was salivating, Don. I couldpractically hear the drool drippingfrom his jowls.

Don stamps his cigarette out early.


8/51

6.

DONAnd what makes you think Warholwill even be remotely interested?

STERLINGWe can frame the project 2 ways.

One: we do it behind the scenes andunder the table - play up thatartistic integrity nonsense. Thecritics never have to know that ouragency provided the inspirationfor his High Life series. ButMiller will.

He TOSSES a HIGH LIFE BOTTLE up to Don.

STERLINGWe toss some PR and a gallery showinto the pot and well stir up more

media and brand equity then Millerwill know what to do with.

Sterling folds his arms behind his head triumphantly.

COOPEROr - the even better option - wecall it a commission. Warhol makesno secret hes been paid by Millerto paint and we gain the samecoverage, maybe more.

Don sets the bottle back on the desk, unimpressed.

STERLINGWhat? Campbells wont admit it butthey love what hes done for theirimage. Plus, hes already paintedcola cans so why not do an adultbeverage? Whats the difference?Besides beer being a hell of a lotmore fun to drink, that is.

COOPERArtists are always looking for thatelusive edge and alcohol cancertainly be synonymous with that.

DONWho cares what Warhol wants, whatabout us?


9/51

7.

STERLINGHave you been struck blind, Draper?Its a win-win-win situation!Warhol gets obscene amounts ofmoney to do...whatever it is heactually does. Miller wins when the

uptight, upper crust start buyingAmerican beer again, and we win-

DONBy doing nothing.

STERLINGNot true. We came up with the wholeidea. We facilitated.

DONBy cutting our artists and ourwriters out of one of the biggest

campaigns we have in the process?

STERLINGI know Warhol is nuttier than asquirrel turd, but that wig-wearingqueen just sold a painting of sodapop cans for more money than ourjanitors make in a year.

DONWell, maybe its time we startpaying them more?

Sterling shakes his head, bewildered.

COOPERDon - whether you want to give herher dues or not, your girl Peggywas on to something. Joan iscalling Warhols manager thismorning. There will be a meetingwith him the moment hes available.Prepare a pitch.

DONFor Warhol? And what exactly is itthat Im supposed to be pitching?

Cooper slides the stained proposal back across the desk.

COOPERPerhaps if you actually read herproposal to begin with, you wouldalready know.


10/51

8.

INT. DONS OFFICE - CONTINUOUS

His INTERCOM BUZZES as soon as he sits down. He throwsPeggys packet on the desk.

DON

What now?

SECRETARY (O.S)Sorry, but your wife, err, ex-, ummMs. Draper is on the line.

DONTell her Im busy.

SECRETARY (O.S)Shes being quite...insistent.

DON

Fine. Put her through.

INT. DRAPER HOME - KITCHEN - INTERCUT

Betty Draper leans against the wall. Her blonde hair ispulled back tightly giving her eyes a feline quality.

BETTYHow nice of you to pick up, Don.You need a to hire a moreconvincing secretary for the nexttime you try to avoid my calls.

DONIm preparing for a meeting. Whatis so important that it couldntpossibly wait?

BETTYI need the children this weekend. Ijust wanted to let you know.

Don opens his date book to Saturday October, 18th 1963.

DONThats the third weekend of themonth. Thats my weekend.

BETTYI know. But something important hascome up and I need to take themwith me.


11/51

9.

DONWhat has? What are you doing?

Betty puts her hand on her hip.

BETTY

What Im doing is really no longeryour concern, Don.

DONI dont care what YOURE doing,Betty, I want to know where mychildren will be.

Betty is stung by his words and cools her cattiness.

BETTYHarrys Grandmother is, well, onher way out and he wanted her to

meet the children beforeshe...goes.

SALLY DRAPER, 9, enters and opens the refrigerator.

BETTYGo outside, Sally. And shut thatrefrigerator door. Were not tryingto cool the whole house with it.

Sally rolls her eyes, exits the kitchen.

DON

So thats it then? You just win?

BETTYThis isnt a game, Don. We leaveearly Friday morning. But I supposeif you want them so badly I candrop them off Thursday night andyou could take Friday off of work?

DONYou know I cant do that.

She smiles spitefully.

BETTYOr you can have them the followingweekend, the 25th?

DONIm busy.


12/51

10.

BETTYOf course you are. Ill let youprepare for your meeting.

DONFine. No, Bets - wait.

She pauses at the sound of her old pet name and holds thehandset in midair.

DONWhat do you think of Andy Warhol?

BETTYWhat does Warhol have to do-

DONDo you like his art or not?

BETTYWell...of course not. Next to theEuropean masters and the Frenchhes an embarrassment. Not tomention his subjects are so base.Why do you ask?

Don sighs heavily, picks up Peggys packet.

DONTell the kids Ill miss them.

He HANGS UP the phone.

BETTYDon...are you there? Don?

She SLAMS the phone into its cradle.

Out of the corner of her eye she notices the refrigeratordoor is ajar and scowls.

BETTYSally Draper! Get back in here thisinstant!

.END OF ACT ONE

.

.


13/51

11.

.ACT TWO

INT. STERLING COOPER - BREAK ROOM - CONTINUOUS

Sterling POURS WHISKEY in a coffee mug as Pete and Ken peck

away at a box of donuts. They both pause, mid-bite as a dourDon strides in.

DONI want all of you to call yourwives and get their opinions onthis.

INSERT - WARHOL POSTER

He tapes a Warhol print of a neon POP-ART BANANA to therefrigerator.

BACK TO SCENE

PETEOn what? Plastic produce?

DONClose. On Andy Warhol. Sterling andCooper have some scheme in theworks and I want to chop it off atthe knees.

Behind him Sterling smiles, RAISES his MUG.

PETEYoure killing us here, Don. Iliterally just said goodbye. CantI call her after lunch?

DONIn case you havent figured it outyet, Pete, my sense of humor iswearing thin. Do it. Now.

He eyes them meaningfully, exits.

Pete and Ken pick back up their donuts.

STERLINGWait -

Ken and Pete pause mid-bite once more.


14/51

12.

STERLINGWhen did Don get a sense of humor?

INT. JOANS OFFICE - CONTINUOUS - INTERCUT

Buxom redhead JOAN HARRIS speaks in a pleasing, breathy

voice on the phone.

Sterling enters, sets the coffee mug on her desk.

JOANOf course, Mr. Stewart. We workwith many high-profile clients. Ican assure you Mr. Warhol and hisassociates will be very well takencare of. Is he available to meetsometime-

STERLING

(mouths silently)Today.

JOANActually, I see here we have anopening at 1:45 today.

INT. ART GALLERY - STORE ROOM - INTERCUT

Warhols MANAGER, 50s, a tired man with pinched featuresexamines a canvas with a magnifying glass.

MANAGER

Today should be fine, but 1:45 isimpossible. Andy and his groupieshavent seen sunlight in the lastfive years.

JOANSpeaking with Mr. Warhol is a toppriority of ours, so you just letme know what his schedule allows.

MANAGERIf I twist his arm I can probablyget you a 4:30 appearance. Do youserve drinks there? Alcoholic ones?

JOANSterling Cooper is a competitiveMadison Avenue ad agency - in everysense of those terms, Mr. Stewart.


15/51

13.

MANAGERAh, good. Youll want to startdrinking now.

He hangs up the phone.

INT. JOANS OFFICE - CONTINUOUS

Joan hangs up the receiver, smiles, shrugs.

ROGER(in an Irish brogue)

Top of the mornin to you, Joanie.

She picks up her spiked coffee cup gingerly with hermanicured claws.

JOANIEIm French and Welsh, Roger. And

Im fairly certain Sterling isScottish. Why on Earth are you socheerful this morning?

ROGERWell, Id be lying if I said seeingDraper being backed into a cornerand poked with a proverbial stickmakes me sad.

Joan sips the coffee and puckers.

ROGER

Aaand theres that too.

He winks at her.

JOANIts 10 a.m. You know, not all ofus cant invent imaginary clientlunches to sneak off to wheneverwed like to get away.

She pushes the mug towards the edge of her desk.

ROGERAnd not all of us can get coffeehand delivered with just a bat ofour eyelashes. I have to paysomeone to make mine.

She smirks.


16/51

14.

JOANThat poor, poor girl.

ROGERShell survive. Be sure to takeplenty of mental pictures when Don

meets Warhol for me. I want a playby play of the whole grisly affair.

He picks up the whiskey filled mug off her desk.

JOANYoure a bad man, Roger.

ROGERIm certainly glad you think so.

INT. OFFICE HALLWAY - CONTINUOUS

Pete, Ken, and Peggy stare at a giant PRINT ofWarhols CAMPBELLS SOUP CANS propped on an easel.

KENWhy is it that when we come up withthis stuff were the bad guystrying to shove something downpeoples throats, but when somesilver-haired hippie does it hes agenius?

PETEI have no idea. But I kind of like

it. It speaks to me.

Ken shakes his head.

KENAnd why does that not surprise me?The only artist whose paintingsembody pure commercialism and zerosense of soul - naturally you wouldfind yourself in them.

Peggy squints, trying to find something new.

PEGGYIm still...undecided. Itdefinitely is different and it hasa lot of people talking.

KENSure, but what are they saying?


17/51

15.

PEGGYDoes it really matter?

Don enters and makes no attempt to hide his distaste.

DON

Of course it does. Thats why Itold you to call your wives. Whatdid they say?

KENShe doesnt even understand whythis is called art to begin with- and the longer I look at it, themore Im starting to agree.

DONAnd yours, Pete?

PETEShe thinks its crass. She alsosaid it wouldnt match anything inour house, so, "whats the point?"

They LAUGH as Roger sways by with another mug.

DONAnd the lovely Mrs. Sterling? Whatwas her take on this eyesore?

STERLINGWhen I dropped Warhols name she

thought that I was buying her oneand started shrieking.

He twists his pinky finger in his ear, winces.

STERLINGIm deaf in one ear now.

DONThats what I was afraid of.

STERLINGAww, Don. I didnt know you cared.

DONNot what I meant. Your wife is theyoungest out of all of ours and sheloves this. No one elses gets it.But were old and traditional.Were not supposed to.


18/51

16.

PETESpeak for yourself, Draper.

Sterling looks at his watch.

STERLING

Actually, Don can speak for me andCooper. We have to field a meetingwith Samsonite at two. Its urgent.

DONSince when is sucking down martinisat The Palm, urgent?

STERLINGSince this conversation began - soabout forty seconds ago.

DON

Great. So now the person who wantedthis scheme the least has to carryall the weight.

Sterling sighs melodramatically.

STERLINGHeavy is the head that wears thecreative crown.

Draper shoots his a smoldering stare. Sterling glances fromPeggy to Pete to Ken.

STERLINGLets not fight in front of thekids, Don. Youre better atrelating to these types than weare. Besides, you know Cooperhasnt pitched since the Ice Age.

DONBut you have.

STERLINGYoure more on Warhols level. Hesa creative, like you. Did you knowhe used to be an illustrator? Hepainted shoes or something forSeventeen Magazine. Ask your girlabout it. Im sure she knows.

He thumbs over to Peggy. Don stares into her.


19/51

17.

DON(to Peggy)

You. My office. Now.

Peggy follows him out of the room.

KENOuch. Looks like were all justpawns in King Drapers court.

Sterling raises his brows at his underlings poor pun.

STERLINGSheesh that was awful. Dont youwrite poems for The Atlantic?

Ken tries to stammer out an answer but Sterling waves himoff as he walks away.

He turns back.

STERLINGBesides...

He takes a thoughtful sip of his coffee.

STERLINGYoure more like peasants thanpawns. Dont flatter yourself,Cosgrove.


Peggy enters behind Don. She fidgets slightly.

DONShut the door.

He holds up her wrinkled proposal packet.

DONDid you show this to Sterling orCooper - or anyone else?

PEGGYWhat? No. Sometimes still I wonderif they even know that I writehere.

Don sits in his chair.


20/51

18.

DONWell, I find it hard to imagineBert Cooper digging through mytrash.

She stiffens in anger.

PEGGYSo it must have been me?

DONSure as hell looks that way. I toldyou I didnt like the idea. Wedont need other artists. We dontneed -

He reads off her paper, makes parentheses with his fingers.

DON- buzz.

PEGGYYou told me you hated the idea andto let it die - so I did. Iwouldnt present my plan to thepartners behind your back.

They stare at each other down. Neither blink.

DONWell, you got your wish. Warholscoming this afternoon. Pull all thefiles, copy and art for High Life.

Peggy smiles, tilts her chin up.

DONToday, Peggy.

She smirks as she walks out of his office.

DONAnd you should wipe that smirk offyour face. Its not attractive on awoman your age.

Her smirk transforms into a scowl. As she exits Don TAPS hisfountain PEN thoughtfully on his paper.

INT. OFFICE - DAY - (FLASHBACK)

Don TAPS his pen on a yellow legal pad. He and Jeremy sit attheir desks, both absorbed in their work until they hear theCLICKING of high HEELS.


21/51

19.

A stunning Italian SECRETARY approaches their desks holdinga MESSAGE SLIP. She looks down at Don.

SECRETARYMr. Hayes?

Jeremy swallows.

JEREMYEhm, thats me...Jeremy.

SECRETARYAmerican Tobacco wants to let youknow that they loved your sketchesof the soldiers and are happy tohave you on board. Theyll contactyou Monday with further details.

JEREMY

Wow! Thats great news. Thanks.

She nods.

SECRETARYOf course. Is that all you need?

JEREMYYes...er, no, its not. I realizedI dont even know your name.

SECRETARYOh. Its Kay.

JEREMYThanks, Kay. Thats all I needed.

He leans back in his chair confidently.

SECRETARYWell...okay then.

As she saunters away both sneak peeks at her figure. Sheturns to shoot back a sultry stare - directly at Don.

Jeremy shakes his head and tries to mask his disappointment.

JEREMYHa. Unbelievable. Are you hiding amagnet in your desk or somethin?Must be nice.

Don smiles, shrugs.


22/51

20.

JEREMYMy favorite times were right afterbasic. Wed put on our dress greensand hit the town. God, it was likethose uniforms had special powersor something.

DONMaybe you should dust them off fora night. See if the powers return.

Jeremys face flashes from recollection to rage.

JEREMYAre you kidding me, Draper? Afterall we saw? After seeing ourbrothers DIE over there you thinkId parade around in uniform justto get some tail?

DON(darkly)

It was a joke, Jeremy.

Jeremys features go slack.

JEREMYRight. Of course. I mean, you werethere. You know what it was like.Sorry.

DON

(exasperated)Its fine. Just dont think toohard about it. And if you reallywant to catch a woman, maybe tryfinding a barber first.

JEREMYYeah...sure.

Don concentrates on his work.

Jeremy rests his hand on his forehead. His long hair liftsup slightly to reveal shiny SCARRED SKIN and HALF OF AN EAR.

.END OF ACT TWO

.

..


23/51

21.

.ACT THREE

INT. STERLING COOPER - BOARD ROOM - AFTERNOON

The room is lined with posters of Millers past campaigns

and several WARHOL PRINTS. Peggy sighs as she looks at theclock. She sorts though her mail to kill time. She uses aLETTER OPENER to tear tape from an envelope. It gets stuckbut she FORCES it through.

PEGGYOw! Damn it!

She has SLICED her PALM diagonally across, blood pools. Shecups her hand and RUSHES OUT of the room.

INT. OFFICE - MEZZANINE - CONTINUOUS

ANDY WARHOL, 35, and the 4 members of his outlandishlydressed entourage stride through the agencys glass doors.

Warhol languishes back, dressed in monochrome with a blackturtleneck, leather jacket, and sunglasses - which he neverremoves. The dark ensemble contrasts with his stick-straightsilver hair.

His entourage consists of VIOLET, 26, a tall woman withbright purple hair, GERRARD, 24, a flamboyantly dressed malemodel, and CANDY, 29, a glamorous blonde who resemblesMarilyn Monroe - in very convincing drag.

The most eye-catching of them all is EDIE SEDGWICK, 22. Sheis a waif with delicate features and a shock of short blondehair. Dark kohl rims her doe-like eyes and metal jewelrydrips from her pale limbs.

Andys entourage look like aliens compared to the straightlaced ad men standing across from them.

SECRETARYCan I take your coat, Mr. Warhol?

Andy stares out blankly behind his sunglasses. He seems tobe on a permanent 5 second delay.

ANDYOf course you can, but what youshould ask is if you may?

He speaks in a syrupy yet monotone voice.


24/51

22.

SECRETARYUm, may I take your coat?

WARHOL...No.

He smiles and wanders dazedly past as his entourage heaptheir coats in her arms.

Edie smiles graciously at the Secretary as she gently placesher coat on top.

EDIEThank you, love. And dont mindhim. Hes always like this when hewakes up.

The Secretary just blinks as if in shock.

PETEShall we?

He gestures to the group.

They follow him, attracting stares with every step.

Peggy, her hand bandaged, looks back as Pete holds open theboard room door.

PEGGYWerent there more of them?

VIOLETAhhndy, Edies disappeared.Agaaain.

The purple haired womans voice is deep and smokey, tingedwith a thick European accent.

GERRARDShes probably putting on her face.

CANDYFor the 1,000th time today!

Sharp peals of mean LAUGHTER emanate from all three.

INT. OFFICE - BOARD ROOM - CONTINUOUS

Warhol sits in a chair at the head of the table. Hisentourage languish on the window sills behind him.


25/51

23.

PEGGY(whispers to Pete)

Wheres Don?

PETENo clue. But were already 20minutes behind. We should start

without him.

She shuts the door as Pete transforms into salesman mode.

PETEMr. Warhol, let me be the first ofmany here to say that I trulyadmire your work.

Warhol smiles coyly.

WARHOLNo you dont. You admire my money.

Pete laughs awkwardly. Peggy jumps in.

PEGGYAs your work suggests, the linebetween art and advertising isgrowing thinner by the day. AtSterling Cooper we believe that acreative collaboration between youand one of our top clients, MillerHigh Life, could be the perfectmarriage of form and function.

She smiles proudly. Andy twists a silver ring on his thumb.

WARHOLIm sorry, sweetheart, but I didnthear a word you just said. Yourblouse is so ugly it just blockedout all the sound.

Peggys mouth drops. Andys entourage snickers.

CANDYCould you get us some water,

darling? Im rather parched.

The beautiful female impersonator flicks her hand.

Peggy purses her lips and storms out of the room.

INT. OFFICE - HALLWAY - CONTINUOUS

Fuming, she passes Don in the hallway.


26/51

24.

DONPeggy, where do think youre going?This was your idea, remember?

PEGGYYou win, Don. Hes all yours.

INT. OFFICE - BOARD ROOM - CONTINUED

Warhol and his group tease Pete out of boredom.

WARHOLRelaaax. Loosen that tie a bit.

Pete reluctantly loosens it about a half of an inch.

WARHOLOh...no. Now it just looks like anoose.

Petes smile fades. Don enters in a huff, reaches out hishand to shake Andys.

DONMr. Warhol, Im Don Draper,Creative Director.

Warhol extends his hand but points his fingers down like aroyal lady who expects a kiss on her ring.

Pete smirks as Don awkwardly shakes Warhols limp hand.Warhol just stares out from behind his sunglasses.

WARHOLWe are so similar, Donald. I feellike Alice peering through thelooking glass.

Don is thrown off s by his odd behavior.

DONRight...well...lets get down tobusiness. Shall we?

WARHOLSounds greaaaat.

DONTheres no need to comment oneverything I say.

Andy remains silent. Don clears his throat and points to alarge POSTER of Miller High Life bottles.


27/51

25.

DONSince its inception, Miller hasalways had solid share of-

WARHOLNo.

DONExcuse me?

WARHOLNo, I dont need to comment oneverything you say. I just find youso...fascinating.

Warhol smiles, taps his fingers on his bottom lip.

PETEWell, youre not alone. Don is a

bit of a legend around here.

CANDYLike Bigfoot?

Warhol smirks. Don clenches his jaw.

WARHOLCandy, Gerrard, Violet - why dontyou run off and find Edie for me?Make sure she isnt getting intoany mischief.

GERRARD(sarcastically)

Hey gang: lets go find Edie!

They roll their eyes and GRUMBLE as they exit.

WARHOLI keep them around for sheeramusement. I dont need a dog or aTV.

DONJust 3 very long leashes?

Warhol shrugs slightly.

DONListen: instead of force feedingyou a sales pitch Im just going togive it to you straight. Ourclient, Miller High Life, is


28/51

26.

looking for a modern, artisticcampaign. Now, before you say no-

WARHOLIm listening.

DON

Good. Theres two ways we can playthis- we can commission you flatout to paint their product or youcan do it of your own accord - ofcourse with Millers blessing.

WARHOLAnd money.

DONExactly. So now that Ive obviouslypiqued your interest, lets talkcompensation.

WARHOL$10,000.

Pete chokes on the drink hes sipping.

WARHOLWell, when money is no option...

DONWho told you that?

He follows Warhols blank stare back to Pete.

DONWell, hes wrong. Besides, yourCampbells cans sold for under 2just last month.

WARHOLFiiiine. $9,500.

PETEMr. Warhol, be reasonable. This isan amazing opportunity for-

DONI think youve done enough talkingtoday, Pete. Mr. Warhol, we havepresented you with a perfectpartnership and even given you thefreedom to choose your level ofinvolvement.


29/51

27.

WARHOLHow kind of you.

DONBut if you think Miller is going topony up anywhere near that obsceneamount, you are sorely mistaken.

Bringing you in was an interestingangle, but we have other artistsother and ideas. Lots of them.

Warhol sighs, defeated.

WARHOLAlright. $8,000 and 99 cents. Butthe 99 cents is non-negotiable.

Don clenches his fists at his sides.

DON

Ill be back. Pete, try to keep Mr.Warhol entertained. It shouldnt betoo difficult.

Don walks down the hallway, opens the door to his office.

INT. NINOS OFFICE - DAY - (FLASHBACK)

On the other side, a young Don enters Ninos office.

Ninos walls are dark and decorated with photos where hemugs obnoxiously with boxers and ball players.

Don sits down in a squeaky leather chair across from Ninowho doesnt even look up from his newspaper.

DONSo...what did you think about therevisions? Kraft seemed to likethem. A lot.

NINOWell, youre certainly noShakespeare.

DONI guess its a good thing Imwriting about fake cheese.

He smiles to disarm the comment but Nino is stern.

Jeremy peers inside as he walks slowly by the door.


30/51

28.

NINOShut that door.

Don rises, complies.

NINOWhat do you think of him?

He thumbs back at the door.

DONJeremy? Good kid. Great artist.

NINOBahh, its like that war is all hecan talk about it. Its gettingpretty damn trite.

Don sits back down.

DONCut the kid a little slack. Itsounds - and looks - like he wentthrough a lot over there.

NINOWell so did you and you never say aword about it! He needs to takesome lessons from Lieutenant Draperover here and stop being such asissy.

Don shifts uncomfortably in the squeaking chair.

Nino licks his thumb before turning each page.

DONThat all? Or are there any otheremployees you need me to review?

NINOAs a matter of fact, smart ass,there is something else. I want youto stay away from my secretaries.Those girls are already as flightyas feathers and I dont need somepretty boy comin in anddistracting them from their duties.

DONSure thing, boss.

Don rises, heads towards the door.


31/51

29.

NINOAnd Draper?

Don turns back slowly.

NINO

Youre a good writer, but yourenot great. Youre too...studied.But the clients all seem to likeyou so Im keeping you around. Butdont get too comfortable, capisce?

Don grits his teeth, nods as he shuts the door.

BACK TO PRESENT

INT. STERLING COOPER - BREAK ROOM - AFTERNOON

Some of the men of the Sterling Cooper office stare lewdly

at Andys flashy entourage as they sashay by.

KENWould you look at the gams on theone in the green? God, I couldstare at her all day.

Peggy follows the gazes of her gawking coworkers.

PEGGYThats a man, Ken.

Ken squints, confused.

INT. OFFICE - SECRETARIAL POOL - CONTINUOUS

The entourage entertains the secretaries with their antics.Violet and Candy blast the RADIO and dance while Gerrard hasthe prim young women hanging on his every word.

GERRARDNow, you cant tell ANYONE this.Now I mean it, okay? Andy justfinished a new series where hepainted -

The secretaries lean in eagerly. Gerrard POUNDS a DRUM ROLLon the desk.

GERRARDMoney!


32/51

30.

SECRETARY 2But...why money?

Violet shimmies by, out of breath from dancing.

VIOLET

He zaid its his favorite subjectin ze world.

The ladies GIGGLE, OOOH and AHHH.

Don appears and shuts off the radio and stands with his armsfolded.

DONIm sorry, I thought you were allbeing paid to WORK. Someone get meCooper on the line. Now.

Violet imitates him behind his back but no one even smiles.The women scurry to take their seats.

INT. DONS OFFICE - CONTINUOUS - INTERCUT

Dons Secretary KNOCKS on the door, peeks in.

SECRETARYI have Mr. Cooper on the line.

Don pick up the phone as she shuts the door.

DON

Bert - theres about to be one lessparasite in the world and Im nottalking about that fly in the breakroom.

COOPERThey all say Warhols a genius. Iwish I could be there to pick hisbrain. I actually envy you.

DONHes a vulture. He does all thepicking. Trust me.

COOPERHes our guest, Don.

DONNot for much longer. He wants 9grand for a single painting.Actually, I dont think he even


33/51

31.

cares about the money, he just isdoing it out of spite...orboredom...or something...

COOPERI dont care if hes doing it out

of his deep love of colored pencilshavings. Youve dealt with thedelusional before, Don, and youlldeal with them again. What nerve ofyours is he standing on thatsleaving you so cross?

DONMy last one.

COOPERAnd now youre on mine. Thispartnership would do wonders for

our agency and our client. You findout what Mr. Warhol really wantsand you make it happen. End ofdiscussion.

Cooper hangs up.

Don turns his chair to face the window and rubs his temples.

.END OF ACT THREE

.

.

.

.

.

.

.

.

.

.

.


34/51

32.

ACT FOUR

INT. OFFICE - WOMENS BATHROOM - CONTINUOUS

Peggy turns the corner and COLLIDES into Gerrard. She does adouble take of the Ladies sign.

GERRARDSorry, hun. Didnt see you there.

At the sink Violet SNORTS loudly pinches her nostrils. Onthe counter there are several lines of white powder.

VIOLETWant some?

PEGGYOh, no. No thank you.

Violet smirks, shrugs, taps out a curled $50 bill.

PEGGYId consider, but I have work todo. But I do smoke. Occasionally.

Peggy straightens her collar in the mirror.

VIOLETSmoke what? Candy cigarettes?

She laughs, bends out of frame to snort another line.

INT. OFFICE - SECRETARIAL POOL - CONTINUOUS

Joan joins Pete as he gives Warhol a tour of the office-though it looks more like Warhol is guiding him.

SECRETARY 2Joan! Psst!

She motions Joan over, concerned look on her face.

SECRETARY 2The petty cash drawer is empty. Didyou spend it on anything?

JOANOf course not.

SECRETARY 2Well, there was $47.50 in therethis morning and now its...


35/51

33.

Her voice drops off as Andy strolls by. He stops, showinghis first interest in a conversation all day.

WARHOLIs something the matter?

SECRETARY 2Its just our cash drawer is...

Joan glares daggers at her to shut up.

WARHOLEmpty?

She nods, intimidated by both him and Joan.

Warhol reaches in his jacket, pulls out a $100 BILL.

WARHOL

Buy yourself a nice dress withwhatever is left over. Something...chartreuse.

She nods gratefully as Warhol looks Joan over.

WARHOLId let you in on this too, Red,but it seems you dont need it.That dress is absolutely smashing.

JOANWhy thank you, Mr. Warhol.

Joan beams. He smiles like a deranged Cheshire cat and walksoff aimlessly. Pete runs after him.

SECRETARY 2Whats a chartreuse?


Edie wanders into Dons office, not noticing him inside.

DON(annoyed)

Can I help you?

Edie spins around, eyes wide like a deer in headlights.

EDIEOh, Im so sorry. I was justlooking for somewhere to be alonewith my thoughts. Ill leave now.


36/51

34.

Dons eyes soak her in, awestruck by her beauty.

DONNo...thats alright. Smoke?

He holds up two cigarettes. She smiles.

EDIELike a chimney.

He smiles back as she sprawls on the couch beside his chair.He hands her a lit cigarette.

EDIEYou know -

She pauses to take a sensual drag.

EDIEAndys quirks actually become quite

endearing after awhile.

DONWell, I dont have much time soIll just take your word for it.

EDIEAnd hes beyond brilliant.

DONI know what he is - and its notbrilliant. Its manipulative.

EDIEAnd what charity are youchampioning up here in your corneroffice, Mr. Madison Avenue?

DONNo charity cases here. But at leastIm upfront with my manipulations.Too early for a drink?

He rises, starts pouring whiskey.

EDIEHardly. Double, no ice...please.

He raises his eyebrows, hands her the drink.

DONNow how does an intelligent youngwoman like yourself get involvedwith someone like Warhol anyway?


37/51

35.

EDIEI may be young but Ive experiencedmore life than most people 3 timesmy age. Andy was kind enough totake me in when I had no one leftin the world. Oh sweet, Saint Andy.

Can you imagine? Him with a halo?

She traces the edge of the glass with her finger, lost inthought. After a moment she shakes her head and SNORTS.

EDIEAnywhooo- he moved me fromManhattan to The Factory.

Don shrugs, the name rings no bells.

EDIEYou havent heard of The Factory!?

Its this mod, absolutely wonderfulcollective of artists, dancers,free thinkers -

DON- Clowns, degenerates, andlowlifes?

EDIETheyre my friends, Mr. Draper.

DONCall me Don. And Im sorry, but why

arent you the artist? You sureseem to have a lot to say.

Edie exhales a stream of smoke. Her smile returns.

EDIEIm about to be. Im the lead of 6of Andys films. Can you believeit? 6 in one year! Once Hollywoodwakes up Im going to be a star andIll never need anything fromanyone ever again.

Don smiles, raises his glass in a toast.

DONYoull certainly be a force to bereckoned with.

She smiles almost shyly as they CLINK glasses.


38/51

36.

DONAnd what if Hollywood doesnt bite?Theyve got a lot of new starlets.

Edies eyes darken for a moment, but brighten just as quick.

EDIETrust me, they will. Andy knowseveryone. Thats why I didnt evenbother to ask him for money.

DONYou didnt get PAID?

His raised voice makes her wince.

EDIENow calm down, Daddy. Its art -not some cheesy soda pop

commercial. Our films are makingpeople think, challenging theirperceptions of reality.

DONReally? Id like my perceptionschallenged. Whats the plot?

EDIEThere is none. He just follows meand the...pieces of my life.

She smiles coquettishly and stares at the carpet.

DONYou know, you could probably sellout the first showing just bywaving tickets in the air andsmiling.

EDIEVery funny, Mr. Draper.

DONI told you, its Don.

EDIEIts not what you think. Its rawand its real - sometimes too real.

Her whole BODY SHUDDERS suddenly.


39/51

37.

EDIEOooh Ive felt so cold all day!

Don hands her a dark RED SWEATER.

She holds it up to admire, then FLICKS it like a bullfighters flag.

EDIEWhen youre talking to Andy, justimagine yourself in a bullfight.

DONI appreciate the advice, but Idoubt he can see any colors behindthose moronic glasses.

She drapes his sweater over her bony shoulders.

EDIE

But, Mr. Draper, I never said youwere the matador.

She winks, stands and smooths her short dress.

EDIENow if youll excuse me, I havesome degenerate clowns to conspirewith.

She sets her drink on an end table and walks to the door.

DONWait.

She turns, fixes her doe-eyed gaze on him. He swallows.

DONLet me take you out some night.Somewhere with real art on thewalls and roses on the table.Somewhere beautiful - like you.

She looks him over, regret etched on her face.

EDIEBut Im already out every night.But thank you. Truly. Ill be sureto leave you your sweater.

DONKeep it. It looks better on you.

She smiles as she gently closes the door behind her.


40/51

38.

Don EXHALES, slumps onto his couch. He digs in his pocketfor another cigarette.

He FLICKS his LIGHTER on and off several times. His darkeyes reflect the flame.

INT. OFFICE - DAY (FLASHBACK)

Jeremy FLICKS his LIGHTER as he ponders over his paper.

INSERT SHOT

A stunning sketch of a soldier lighting a cigarette layingon his back in the grass.

BACK TO SCENE

He looks up at Don who is absorbed in his writing. He CLICKSthe LIGHTER open and shut over and over until Don looks up.

DONDo you mind?

Jeremy sets the lighter down. Don looks back down.

JEREMYHey, uh, Don, did you ever meet aLieutenant Smith?

DON(irked)

Youre asking me if I ever met aman named Smith - over the courseof three years - in the army?

Jeremy shakes his head, smiles.

JEREMYHa. Good point. His name was Ryan.Blonde hair, long scar on his chin.He wouldve been about your age.

DONHow do you know my age?

JEREMYJust a guess. 27 - am I right?

Don purses his lips in annoyance.

DONListen, Jeremy, I prefer not toblather on about the past. Whatsdone is done, alright?


41/51

39.

JEREMYFine, fine. But...you gotta admitits strange to be back here.

DON(confused)

In the back of the building?

Jeremy snorts.

JEREMYBack to normal life, Don. I feellike Im moving slower thaneveryone else. Like its all adream. People here act like...likeKorea never even happened.

Don shrugs, starts writing again.

DONWell, thats because it didnt. Notto them anyway.

Jeremy fumes as he looks around at the others in the office.

JEREMY(hissing)

These god damn drones!

A coworker glares at Jeremy from his desk across the room.

DON

You better learn to live in thehive if you want to keep your job.

Jeremy SLAMS his PALMS on his desk, stands up.

JEREMYI need some air. Im going tolunch. You comin?

Don hesitates.

JEREMYForget it. Somebody needs to sellthis shit, right?

He strides away muttering down a dark hall.

.END OF ACT FOUR


42/51

40.

.ACT FIVE

INT. STERLING COOPER - JOANS OFFICE - LATE AFTERNOON

Peggy bursts into Joans office.

JOANEver heard of knocking? Its notnew.

PEGGYWill you please have a word withthe urchins occupying our bathroom?I dont enjoy seeing illegalsubstances when Im trying to fixmy hair.

JOANOhh, Peggy. I thought you were awoman of the world. Surely youdont need me to scold them likeschool children for you?

PEGGYThis is a professional workplace,not some nightclub in Chelsea.Dont you have ANY control here?

JOANI have a great deal of control

here. Thats why I can ask you towalk back to your desk and not haveto do a single thing you say.

PEGGY(bitterly)

You cant like someone just becausethey complimented your outfit.

JOANAnd you cant despise someonebecause they hated yours.

The women, opposites in every way, stare each other down.

INT. BOARD ROOM - CONTINUOUS

Don enters the room, sleeves rolled up, ready for round 2.


43/51

41.

WARHOLMiss me?

DONWhat do you really want?

WARHOLTrue love and a good TV dinner.Theyre always so blaaand.

DONCut the quirk for one god damnedsecond, okay? Or is one of your newexperiments wasting the time ofpeople who actually work for aliving? What do you really want?

Warhols mouth forms a thin line.

WARHOLGratitude. You and your client,Campbells Soup, should be singingme praises. I gave that boringbrand, that hideous canimmortality.

DONYOU gave them immortality? Whatabout the ads that made it an iconand earned it a space on everygrocery store shelf in America? Andwhat about the artists who actually

created the design? The one youjust copied over and over like somemachine. You think you granted themimmortality? You spray paint toiletpaper and film drugged out dragqueens and dare to call it art. Youknow what I call it?

WARHOL(slyly)

Am I supposed to guess?

DONNO. I call it pathetic. Ive workedwith artists, real ones, men whoput their SOUL into their work -something Im not so sure you evenhave.

Warhol remains as silent as a corpse behind his sunglasses.


44/51

42.

DONAnd while you con young girls oncamera, Im creating an empire -building it with the blood andsweat of dozens of hardworking menand women. And I actually pay them

for it.

WARHOLJealousy is not attractive on you,Mr. Draper. It makes you look oldand tired.

Don leans in, knuckles on the table.

DONWhat on Earth do I have to bejealous of a hack like you for?

Warhol finally removes his sunglasses, stares directly atDon.

WARHOLAdvertising is not art. Humans havebeen selling shit to each othersince the first caveman figured outhow to move his mouth to make alie. Yet in thousands of years ofhuman and art history NO ONE hasever thought to create what I amcreating right now. Including you.

He calmly places his sunglasses back on.

WARHOLYou dont hate me because Im ahack. You hate me because youdidnt think of it first.

Don picks up his briefcase.

DONYou can see yourself out.

WARHOL(coolly)

Whats to see?

Dons nostrils flare as he storms out of the room. Throughthe glass partition Warhol remains perfectly still.

INT. UPSTAIRS LOBBY - CONTINUOUS


45/51

43.

Don presses the down button of the elevator. The doorsopen to reveal Edie blowing on newly painted nails.

She looks up, startled.

EDIE

Mr. Draper! Oh no! Did everyoneleave already?

DONNot soon enough.

She blows air out her cheeks.

EDIEOh goodie. I have quite the badhabit of getting left behind.

Don enters the elevator as she hops out.

DONEnjoy your evening, Edie.

The doors begin to close.

EDIEYou know I will.

She smiles mischievously. He ignores her to look down andcheck his watch.

EDIE

Don?

He looks up. She finally used his first name.

EDIEPlease dont take life soseriously. Nobody makes it outalive anyway.

The door closes on her solemn face.

INT. OFFICE - AFTERNOON - (FLASHBACK)

Elevator doors open to reveal a bleary eyed Jeremy. He scansthe deserted office. Only Don and one secretary sit onopposite sides of the room.

JEREMYDraper - whats the deal?


46/51

44.

DONEveryones out celebrating. Wenabbed Gerbers, the baby foodaccount. First time Ive seen Ninosmile. Howd the meeting withAmerican Tobacco go?

A bleary eyed Jeremy SNORTS.

JEREMYThey said my soldiers were toorealistic.

He rolls his eyes.

JEREMYGee, I wonder why. Oh and thatthe dark haired one lookedhaunted.

He throws the drawings on his desk.

INSERT SHOT

The top DRAWING is striking and detailed. A dark hairedsoldier in uniform smokes laying in the grass. His eyes seemsad and his expression tired. He looks a lot like Don.

BACK TO SCENE

Jeremy rubs his tired eyes.

JEREMYI havent even been doing this ayear and already I feel like Imdrowning in bullshit.

Don mulls over the drawings.

DONIts not that bad. Youll tweak hismouth up a bit, slap on a rosy glowlike one of those Rockwellpaintings and send it back on over.

JEREMYA rosy glow? Jesus, Don, do youeven listen to yourself?

Jeremy blows out a breath. Don sniffs the air.


47/51

45.

DON(quietly)

Jeremy, listen, Im all forthrowing back a few at lunch, butNino is going to be back any minuteand you smell like Jack Danielsbathroom. How much did you drink?

JEREMY(slurs)

Sure thing, Draper. Sorry to showsome emotion in front of Mr.Perfect.

DONYou need to tone it down. Now.

Jeremys skin flushes a livid red.

JEREMY

Tone WHAT down? After all Ive beenthrough Im supposed to just sithere like a MONKEY and paint prettypictures of flowers and soap!?

The lone Secretary looks up, alarmed.

Don stands up.

DONCmon, lets go have a smoke.Outside.

Jeremy sways, sits on the edge of his desk. His blurry eyesseem focused on something far away.

JEREMYIt was snowing that morning. Theycame up to us, a few young kids inrags. They were freezing, rail thinand just begging for food. Foranything we could spare...

DONJeremy, enough. Lets go.

JEREMYI couldnt let them starve. I askedLieutenant Smith to give them somescraps. Begged him. The kids, theythanked us, they even bowed. Westarted digging through our packs -

Don grips Jeremys shoulder.


48/51

46.

DONStop. You dont have to do this!

Tears drip from Jeremys wide open eyes.

JEREMYThey started attacking us. There

was blood...huge knives...shots. Wenever even saw it coming. Smithshead was...

He CLUTCHES his THROAT, looks up at Don.

JEREMYIt was all my fault, Don. And theygave me a god damn Purple Heart. Ipawned it down the block. I didntneed some lead weight reminding meof how I kill-

O.S. an unexpected BOOOM! goes off.

Frightened, Jeremy rises to his feet, blindly SWINGS at Don.Don, caught off guard, gets PUNCHED on the cheek.

Don SHOVES Jeremy out of instinct. The force sends JeremySTUMBLING backwards.

Jeremy HITS his HEAD on the corner of the desk, FALLS to thefloor. He lays there on his back, panting. His eyes are wildand blood oozes from a gash on his forehead.

In the doorway, Nino and all his secretaries stare on inhorror. Nino holds a BOTTLE OF CHAMPAGNE.

The boom was from the bottle Nino had just uncorked incelebration.

Nino shakes his head, furious at Jeremy.

BACK TO PRESENT

INT. GROCERY STORE - NIGHT

An immaculate Betty Draper strolls past a pyramid of

champagne bottles behind a shopping cart. She picks one uplongingly, but seems to think better of it and sets it down.

Down another aisle she places a manicured nail on the sideof her face as she stares at endless shelves of perfectlystacked CAMPBELLS SOUP CANS. They repeat infinitely.

She stands on the tip toes of her high heels to reach anidentical can on the highest shelf.


49/51

47.

EXT. STREET - THAT NIGHT

Flashbulbs blind as REPORTERS and ADMIRERS SCREAM to getAndy and Edies attention as they exit a limousine.

PAPARAZZI

Andy! Andy! Over here!

A REPORTER pushes a microphone into Andys face.

REPORTERWhats new in the world of Warhol?

Edie and Andy lock arms like two old biddies.

ANDY(coyly)

Wouldnt you like to know?

The CROWD LAUGHS.

ANDYIf you must know, at midnighttonight Im retiring.

The CROWD goes wild.

ANDYI know, isnt it a traaagedy? But Iwant you all to meet Edie. Shesthe real star. A superstar. Isntthat right, Edie?

Edie waves, basking like a queen in the flashbulb frenzy.

EXT. STREET CORNER - THAT NIGHT

Peggy walks past an art gallery where a row of Warholcanvases are on display. She mutters to herself.

Suddenly she slows to a stop, transfixed, in front of amassive JACKSON POLLOCK PAINTING.

Her eyes soak in the chaotic lines, bright blood redspatters and splashes.

She places her hand on the glass where the seeping bloodfrom her bandage lines up with a red gash on the painting.

She smiles serenely.

INT. SUBWAY CAR - THAT NIGHT


50/51

48.

Joan catches the eye of a handsome YOUNG MAN, 20s, as hedraws in his sketchbook.

He stares at her then looks shyly away several times.

EXT. STREET - MOMENTS LATER

The Young Man runs after Joan on the street.

YOUNG MANExcuse me!?

Joan turns, smiles. He is out of breath.

YOUNG MANIm sorry if this sounds strange,but where did you buy your dress?

She puffs up proudly.

JOANMenkins. Why do you ask?

YOUNG MANMenkins! Great! My Mas birthday isFriday and that dress is perfect.

The Young Man tucks his book under his arm, waves.

YOUNG MANThanks, Maam.

Joan looks as though shes been slapped. In a way, she has.

INT. STERLING COOPER - DONS OFFICE - LATER

Don hunches over his desk writing furiously in the dark.Piles of papers are stacked all around him. He shakes hispen but it is out of ink.

He opens his desk drawer and sees the edge of a torn paper.He gently removes it to reveal Jeremys SOLDIER SKETCH.

The drawing is wrinkled and torn - but the haunted eyes ofJeremys dark haired smoking soldier look into Dons.

Don holds the tattered sketch in his hand for severalmoments as if memorizing the details.

Suddenly, he lets it drift into the trash basket under hisdesk, where it lands on top of a Warhol print.

INT. OFFICE - LATER


51/51

49.

Don exits his office and nods to an African American nightJANITOR, 40s, as he polishes a desk.

An exhausted Don looks around at the empty offices.

DON

Looks like Im the last one here.

JANITORWell, not quite, sir.

Don shakes his head, embarrassed.

DONObviously. Sorry, long day.

The Janitor nods politely, bends to pick up a wastebasket.

Don opens his mouth as if to make more small talk but

exhales. He has nothing.

He puts on his hat and exits.


The Janitor turns on the light in Dons office.

He bends to dump Dons wastepaper basket but grabs theWARHOL PRINT and Jeremys SOLDIER SKETCH before they fallinto the large garbage can.

He smiles, shakes his head as he admires them both.

He tucks both pieces under his arm and WHISTLES cheerfullyas he exits and turns off the lights.

FADE OUT.END OF SHOW

mad men_ tasteless trash rmr

Documents