MEN I-J&ffi

Wheel The
Ep .# S l l3 / P 1 1 3

Wrinenby Veith & Robin Matthew Weiner

by Directed MatthewWeiner

Draft - MW & RV Pre-Production White ProductionDraft - N4W& RV Draft - I\4W & RV Blue Production

2,2007 Arrgust I ,2001 August A u g u s1 t 3,2007

ln c. All ri ghi s rcscrved N o porti on of thi s scri ptmal be pcrformed,publ i shed, C o p y r i g h t2 0 0 TL io tr sCa te T e le visr o n o r q u o te d or pubi i shei li n ant'nredi um,i ncl udi ngon anv w eb si te,w i thout P ri or b 1 '.r n vr n e a n s, s o l d or d istr :b u te d set forth above. wr itte n co n se n t.Disp o sa lo f th is sc ri ptcopl ' tl oesnol nl tcr any of the resl ri cti ons

CAST
E p.#SI 1 3 / P 1 3BiueDraft Augusr 13,200'7 SER]ES REGULARS PETE CA MP B E LL COSGROVE KENNETI_I HAR OLDCRA NE BETTYDRAPER D ONA LDDRA P E R JO ANHOLLOWA Y PAUL KJNSEY PEGGY OLSON SALVATORE ROM,{NO G U ES T CA S T G LEN B IS HOP C OO PE R DUCK DRAPER ROBERT SALLY DR-APER FRANCINE TR U DY VOGEL JEANNIE I-OM VOGEL D R . WA Y NE ANNIE CARLA JOE HAITRII!4-AN JAN ET NIGHTN4A NA GE R D R .O LIV E R R]TA VICTORMANNY (USED TO BE VICTORSTEUBEN) L YN N TA Y LOR N U R SE WILS ON (OI\4 ITTED_ SECRETARY)

OFFSCREEN O PERA TOR

I 1 3B lu eDra f t E p,# S11 3 / P A u g u s1 t 3,2007

SC .1 1 EXTRA SECRETARY SC.12 NORMA TO D D

SC. I6 TODD

sc.3_s
ORDERLY

Locations
E p.# S ll3 iP l1 3B lu eDra f t Augus1 t 3 ,2 0 0 7 INTERIORS SQUARE HOTEL_ TIN4ES BzuGHTON LOB B Y(N3) (N3,D4) OFFICE D R .WA Y NE 'S HOME DRAPER (N1,N3) B E DROOM FRONTHALL (D2,N4) (ADDEDN4) KrfcHEN (D2,N2) (N1) K ITCHE N/DE N LrvrNG ROOM(D2) HALLWAY (N3) UPSTAIRS HALL (N4)(ADDED) VESTIBLILE/FRONT HOSPITAL ROOM(D4) EMERGET.vCY WARD (N4) WON,,I,AN'S APARTMENT PETE'S (N2)(OMITT E D N4 ) B E DROOM (N I, N1)( A DDE DN4 ) LIV INCROON4 OFFICE COOP E R STERLINC (N3,D4) B ULLP E N ROOM(D2 ,D4 ) coNFE nE NCE (D2) cooP E R's OFFICE (D3,N3. D4 ) DON'SOFFICE LOB B Y(D2) E LE \/A TOR (D2 ,D3 ) B OOTH E NGINE E R'S (N I OFFICE ) HA RRY 'S (D4 ) O F F I CE COP YWRITE R' S JUNIOR (D3 ) S TUDIO RE CORDING TRArN(N1)(ApDED) OM IT TE D WAGON(N1) BETTY',S (D2 ) ou r srDE cooP E R's OFFICE

EXTERIORS BANK PARKINGLOT (D4)

FADE TN: - LTVTNG ROOMrNT. PETE',S APARTMEN T (NTGHT 1) 1 * *

PETE and TOM VOGEL (EP.# 5104) sit in a chair and on the The table is couch with tumblers of scotch on the rocks. TRUDY and JEANNIE VOGEL (EP.# Si04) sit clear behind them. through a at the table wrrh t.heir wine glasses, rrfling of fabric swatches. selection TOM Nrxon d:-dn't stand a chance. The Browns trounced the Redskins. to ten. The result Thirtv-one of rhat lasc home game has correctly predicted the last six elections.
yL!L

I wish
+L Ltla -+ u . / t-h
\ e 1 1 4 r .r L g

someone would have told

i nlre \
/

me

or

course
nf

it's
hcina

really
r i ahl -

a fifty-frfty

chanco

TOM
T,' ' n hoc:r r qo nnlnc T in f ool fr c ai i h:t vcrn r ^r :r r Ii k e r hnr r i a SO n \/- r 'l -

PE TE
/r r nnnmf n r r - :l - r l o \

Okay. TOM
Trrrdv v-n \i 7orc cj r rs that -nl h v^ ' .^ + - ^ h ^ lJ! 1-hpr cj i dn,t. o ur Ltu Ltvll al lu --^
qnmothr -r YL Lt) na

,rn oet

f Of :l

w rs h

she

hadn' t. TOM

Nlnr l \ V W, ^r

Dllg

qha

IV V nr ! g J z oq

r r ar r
JVU r

Anr n Il U i

honoc -JtJJf r ]' rg

l rr

I think you need to take focus off of your work.

a little

P ETE This from one of the top salesmen at Vrcks Chemrcal? When you started talking about that
Clo:r :qr I a- m n:n\/ \/^1r l - r nr r c hi ?

EP#S113/pI13

Blue production

Draft

"The Wheel_,' B/13/07

2.

TOM ( smrles )
It was k r nd in

a b o u t.
Sur ge
\/F: T Q

of

wo-rh

hr:nni ri aht

nn

D o y"; ;;;;"r ;;;' i;.Iu,=

ado l e s . - F n c p n^w?

eeenbuila'ns iJi";;"-i;;;

;;r."

PE?E tell. you, Sterling Cooper, and would }ove to hel_p you {oirrs truly, deliver that message. f'll TOM ( Iaughs ) See? This is what I,m talking about. ?he only famjly and business you should be mixing rhe product:on of a child.

rs

PETE And what d:d Trudy say about that? rrusr rnen,
Tr r a+ +L ^ . Fr ' . . l.' a *^ *J ^

tne women walk

+L ^ L^

over.

Jeannie

sits

noYt

l-^

n^-

o u q r lq D

T o m.

- ch tn d

T RU D Y Ab o u t w h a t? JEANNTE l i_ps si nk
T'',\M

Tom,

loose

shrps.

f was just saying rhat work i s not everything. Lrke the song says/ "Tend your own garden." TRUDY What song is that, I don't Daddy?

TOM know. Feople

say it.

It,s

1u

T+

!D

JEANNTE (wrstf uI ) + - ,- ^
Ltt-lg.

TOM Tend your ow n garden. start growing thrngs. Trudy l-ooks at pete.

TJ-

m o:nq

EP#S113/P113

Blue Production

Draft

"The Wheel" 8/73/07

3.

TRUDY
l- l:r ir iv|

\/nr ' r ' r o

-f "u

om 'n:r r :qqi

nd

r3rJ. c

TOM (pornts to Jeannre) ft woul-d be the best Chri-stmas present rhrs one ever had. HeiI,
l' hani.cci rri nn t q T hr r r qr i :r r

rNT. DRAPERHOME- BEDROOM -

(NIGHT 1)

DON lies in bed. There is an electric blanket. Lights oB, he' s readrng a b:g magazine and we see as he holds it, he moves it farther away from himself. BETTY walks in wearing her nightgown. She looks at him readrng as she passes. BETTY Look at you. You need glasses. Don puts the magaz:-ne down.
DON
lna+LadrluLrrg! .^ -wut -t^. +l^; t!!!rry -^ y .l r l l l^-..^ rlqvE +^ L-qJ Ll .l^ 1llgg qL ^+

Berty starts rifling rhrough her end table out a small pad and a pencrl. I have to
.T^noq e ur r eJ . rAn.l utq

drawer.

She puIls

BETTY take Sallv

IL!y i Ir ahf u-c .

for
nh vll

Marv
...1 ql lu i4 dr r aqq Y qc nJ

I should go to Kepler Farm and get sone acorn squash. ( sighs ) What am I dorng? They have squash Very good squash, actually. there. (gettrng rnto bed) I really wish vou would come. Don doesn't react much.
DON
Ri r r li a T' m z nar i nar Fi nhf rr

nercent of mv business roll-s out It seems srlly next week. for me to come down for a twelve hour
Thanlr cai rri nn

BETTY What about Sally and Bobby's childhood memories. (MORE )

EP#S113/P113

BIue Production

Draft

"The wheel"

8/L3/07

4.

"I

don't
ant

BETTY (CONT'D) know why Daddy wasn't

.tllno 'l T f *rrocc Ysvps r.7a rrofgnt!

at

Thankq.l rlrurrr\rYrwrrr:r i mnnrf

DON There was no reason why you have it here. couldn't BETTY Yorr know mv brother's are children They can't make the triP animals. And I don't want mY dad up here. to be alone. DON Your Gloria is there. He's not. His wrfe be there. brother wiII Her lewelry wiII be wrII be there. there, BETTY f f you can't go, You can't go. And get a cab to the train' I'lI wrII prck us up, probablY william in some new car. A l ong beat. BETTY (CONT',D) I don't thrnk You know what?
.r--l

You

war r

+^

LU

^^ Yv.

I'm sorry/ that? f don't

*-i.^ lltdj\c *.r ltLy

DON was I unclear

about

BETTY understand
f .hi'1 i ellL: !Y q! r J v

whY You can't

f :mr'l ! @rr! rr rr .

Don tu rn s

of f

j rrs

i rg h t.

tsetty

ci oes the

sdl rr-

r NT .

S T ER L T N G C OOP ER -

H A R R Y ' ,S OFFTC E H e has

(N TGH T r) Ii stens to

I t i s d a rk , t he p h o n e .

c IJ o s E o N H A R R Y .

new gl asses,

HARRY (to p h o n e ) -(e n i s n p rf p r-t' l v r\cri t/u!-ueu:l -r

L ^-^

,-*Yi.J

nannv

to

haV g me

(MORE )

EP#S113/Pl13

BLue Froduction

Draft

"The Wheel" 8/13/01

5.

HARRY (CONT'D) What do you think it's }rke? a bachelor. It's drrty, As we pull back, we see Harry shirt, BVDs, and socks. rs sl-ttrng

He's ac hi s desk, rn a T-

HARRY (CONT'D) I'm not complarnrng f don't think it's a good :dea to spend money on a hotel r:-ght now. If
r r nr r , lg SO W O f I I e d aborrt.
,vv s e

mv wel I
rrrj

being, Iet me come home That's not what I meant f mean f know how it sounded. ( quietly )
i^-'-.i ^JE11T1I!E!. ]\a nD l-ra lrg Ij c+ano lIDUgltD/ ho rtg I i nhtc rtv-luD a a ci n:rorro u!yq!gLLc.

HARRY (CONT',D) Yes. qurt rf you }et me come I'II home I know I'II be by Tuesday with my paycheck and get my tweed spcrtcoat You sald you you when I was vranted me to teII comrng barge rn I drdn't I miss you. So much. I'm so sorrv. ( tong beat ) f know. Good nrqht.
I{o l rs : q hr nnq llqlluD r rn uu iho ulr E nhnno lJllvr r E. IJ :r r \z Ir a!r )/ l - i nn - - -l luD - ! Ld.l > lllE o l ,.uP +L w l ul l '.'i

and takes
nill illnr v v w ,r :nr l

the
Grlq

garbage parl
Fl^p I A I I ^l.a+ EL
AIg

over with
Wa l L It.u ,

h:-m to the
t:l oe u ar ^g D nff V:

hi c --*-

r-i

n:r otf

couch,
hr c

where

al e r q:qqoq vJU J

and continues
1 - c r a r p tte a sh

to
.n + ^

smoke.
+ il 6

He Iays
arrl -.=-o .;.taro1-Tc v_ Ys_

down on his
The qti 'l I w j nd -':f
I/g:3'

couch and flicks

Whl S tl eS

na-I-

t hr o rro h
irVrnar

th e

of f ice

w i n d o w s.
/

H e nrr' l I s the

b' i anket
hand.

on hi msel f

T 1 .1 a r p t

co m fo r r :ir le .

INT.

* ELE\TATOR STERLTNGCOOPER LOBBY che el-evato: :n wrnter

(DAy 2)

A crowd ex;rs

atlrre.

OMITTED

5*

EP#S113/P113

Blue Production

Draft

"?he Wheel', B/13/07

rNT.

STERLING COOPER - COOPER'SOFFICE _ (DAy 2) research on his desk,

COOPER has bound books of telerype golng through them. Don walks rn. DON (re: research) Are those the Iegendary frles of Bert Cooper?

secret

COOPER No. f have to write a repcrt to the board. My sister Alice is gurte a business woman. ft's hard to be scruti-nized bv vour sister. DON Those reports are always the salne. This year brg, nex! year brgger. ( Iaughs ) I got a call from Abraham Menken. f'm sure you know that h:s daughter wiII be unavailable for the next three months*- taking some sort of ocean voyage to Parrs and whatnot, Don tries to hide his surprise.
h-n \-\r\rr ^ nn -Ln

I nadn't
/ th e n

DON hearci rhat.

\

Bu t

o th e rw rs e ? C OOP E R
1; rrt r :r o r i',

There rs no otherv/rse.
m ^n - :llinn mo?

Why is

thi_s

DON
/fir m lr r \

f don't

know.

Was he unhappy?

COOPER Roger told me you had drfficutry workrng wrt.h thrs woman. As a
Da11nFr T r in nnr u av no.r e^y c ee

personai preferences wlth our business. DON

T^1L^

v nr r r JUU!

ro rnterfere

wno s ^-r,ays

+L^,,

rn e y

nave?

EP#S113/Pl13

Blue Producti-on

Draft

"The Wheel"

8/13/07

7.

L L/\-i5:

t1

f r was the her father.

t-n n nor l vvvsI ^ l\r ^^lUI!5 l^,.^ \JUWII,

tone

of

irls voice.

He ' s

art uD e ^- LaI D

f I i nni - +l v Pl tl Y

nn

thr nr nh l ur r !vruYl

hnnk c . IW VAD

coOPER (coNT'D) If f don'E see That's rt cowboy. you, have a nrce holrday. Don nods and walks 7 INT.
R o i t\/

ouL. (DAy 2)
nrzor h:'l
. rg l -I / g I / U .

DRAPERHOME- KITCHEN ^ Om p s r n h Ol d. nO t in

j .i orl

naner

bao

f l i i gj

w,rh

squash.

She puts

rt

on the

counter,

takes

off

her

or r rz e s -

T h e d o o rb e l -I

ri nrrq -

r NT . B et ty

D R A PE R H O ME goes to th e

F R O N T H A IL door and

(D A Y 2) rt.

opens

BETTY Franc]-ne. I'R ANCINE barges

S l - n n p r s. anj a

rn wearing
kn i T \- *

a coaE over
'Jor nnqo anj

her nightgown,
eveq erc rcd.

f ' m c o mi n g

FRANCTNE f n. f ' m f reezrng. B ETTY

/ Vntr t ro

^l

oc i n

i na r r nr r r

tho q'l

dnnr r nnor c

F R A N C IN E f w a s v J a :-tr,n g outsl -de for you to c o me h o m e . Just srttl ng l -n the car

hnninn nn ^no r .r ar r " l r l qao ma

W h a t' s F r a n c rn e ta k e s fo i i o w s . ; er t v o ff

BE TTY g o rn g on? her hat. S he heads to the l i vrng room.

r NT.

D R A PE R H OME heads to

L T V TN G R OOM th e cou3h.

C ON TIN U OU S (D A y 2)

Francine

EP#S113/P113

Blue Production

Draft

"The Wheel" 8/13/41

8.

FRANCTNE
A ro r r g 1 1 5 . kr d S hef e ?

BET?Y
NIn lalh=f hannonoA?

FRANCINE
Trh -L lll DU -^ ol-rrnlA DLUIIUr T,m .|t cn )V rl:mn uollul cfrrnirl DLqvls.

Franclne

sits

down/ smacking herself

in

the

head.

BETTY (sits next to her) Whatever You're not Francine.

h:nnanOj rrq!vsllsqt \/ajtt .fvu :ro OIE n^lrlUL nirrn: DLUUI9T A

FRANCINE My mind hasn'tr been so sharp sance I had the baby. (rakes a breath) And Carlton gave me a stack of mai I and honestly, f think I threw it the Four days later, aII away. phone got cut off. So, I had to go 'uo the phone company and pay the or you know, he'C have a frt. brII, And I had to do all thrs wrthout him knowinq. How perfect. I don't
Thev

BETTY understand. FRANCTNE m . rhe h. l]. '"" 18 dollars.

c: I'1 e T .nnn

oi \/e :-'._

f t
rii

was

close
rl I

to

There were
qi r nna

ihoeo

MH.

Mll? Manhattan ? ( quretly ) And thrs vroman So I call one. And I, I lust say I'm answers. from Carlton Hanson's callrng office. And she says, "ReaIly?" And I Sdy, he wants to have dinner the usual place. ronlght,

BETTY What made vou sav that? FRANCINE What woman in Manhattan woulC he be callrng that answers her own phone? Francire starts to cry/ puI-LS some Kleenex from her sleeve.

EP#S113/Pl13

Blue Productron

Draft

"The Wheel" 8/13/01

9.

FRANCTNE(CONT',D) I need a drrnk. Some wine or somethrng. BE?TY

A vr Lvql Dg.

troi-J-rz

qtrrrq

nn

Fr:nni

no

nr:frq

hor

arm

FRANCTNE
\Tn !rv'!Yv. rian,i d^

Rettv

s i ts -

n u ts F*"

her

h a nd

over

Franci ne' S .

BETTY Marr.ied women, lots

lnqr .r or tha ir nr .r n

or women/

nhnnoq

FRANCTNE So he's calling some married woman from my hous e? While I'm upstairs breasc feeciinq? BETTY Maybe j-t's a caterer. He' s throwrng a surpr:.se parry. laugh,ng. Betty covers her eyes, Francr:le starrs embarrassed. Francine takes her c:-garettes out of
n n ^ raf p9gnCL . Ear rrr OgLLY +^l- ^^
LeAcD

her coat

*L^
Lllg

p qgn - ^^^l

fr on !1 v.i l

lhor r c! -

* :k a5
/ * s^ u .

9po.

FRANCINE Do you know he spends t.wo nrghls 7'm so week at the Waldorf?
< + r r n iq j.

BETTY Assumrng the worst?

F 'r:n aino r .r r noc hor nnqo :- :r n

FRANCINE poi son T h e w o rs t i s f' 11 hi m. H e' s s o s tu p rd h e ' II drrnk anythrng. T'm ' r^ ; 6 1 n rn..r t- haV e a hOU S e fU i I r 1r YvrrrY
of n a ^ ^ lo ilI r .*r s n a r p n tc '--" 1;;.ii.,,'-'
"J

I -* Mv

^^IS on !1"' nal .ents.

them

aI].

Mw k rd s .

BETTY
Qinn i i ( 1- nn r 'n:t;r :n- r na

EP#s113/P113

Blue productron

Draft',The

wheef', B/13/0-l tu.

re m e m b e r

r - ho F ,- x ', _*-r' h/as born. He said I had no rdea how 1ucky f was to have hrm. It came out of nowhere, hefnr a

FRANCINE !,/e had a f -iY'.e::Yr oht ri o\l

RE TTY

Stitl Franciner |ou,re Ir doesn't mean--

emotional.

FRANCINE Damn lt/ Betty. I know everything. What am f gonna do? l,ve been srttrng out j-n the car. What do I do? I thought you.d know what to
rln

(taken Me? Why?

BETTY back)

FRANC]NE (alnost embarrassed) I don't know. BETTY (thj_nks ) I guess you can stay over here. I don't know. As far as the future,
ihp ,.-

except... Yes. Betty

t- i dh+

a n t s-ir .r nr n e -y

c oc occIIl

V f

he doesn,t

lz

S fmpl e

know you know.

FR\NCINE f know that. and hugrs her. Francine holds cn very verl,/

leans

in

BETTY you're You're so strong. strongest person f know. me. That took a lor,
It d rd . It FRANCTNE w as reaJl v --J

the you tcld

har-rJ

so embarrassed,
rrl sJ Put! d.wdy.

f,m

I don't time?

BETTY know. Maybe take

some

F:Pg\t|

</pt

| <

Htlla

pr^d)l^l!^n

l)r=tr

"'t,ho

t^l n66t"

t/

| <ttt

11. F RA N C IN E
Yoth.v 94.'YV4I.Y itte n^iin - ^r nd hr r r t

anyrhing
We hear
t-hrorroh

to

think

abour l-t.
and
r rq

r he
th e

k it r - - hpn
h n ttq e f o

. ioo r
rho

nntrn
rrnci -r uvruqr!e/

r - l n s o tni anl y!yyrrrty,

t!:r - ,v hc
i na

k ir r i q j !:u
vqL

rue rJi vq a r r :r
nf v! q

n^r

^rri

i ahr DryrrL.

should

FRANCINE (CONT'D) go. BETTY

\la !r v

dnn

/ I

F re n r.i

ne

r r pi

r*rn Y.

1 I T1. , !r fu

ho ,e

nlr ar r vAqJ.

Francrne walks out fast. enters t.he living room.

CARLA, African-American, 50's, We hear the door cLose as Francine

CARLA i\4rs. Draper ? Sorry It's okay.

f ,m lace .

BETTY you can go, Carla,

CARLA You want me to unpack the nrn^9;jg5 l I'lI

i-:rr u a !ra = na. io r - r r D/

BETTY do that. Just

and dll( ) W W d.L.t1ti al_kS

go.
t LO o1 W ^afQ la1.d r tne he _ 6 - ,-a \F \i k J .- r-r-hen r y _* -* l!

her th rn g s . door.

- u- 115

b aC D aC Kk

Be tty

s ra y s

w here

she

l s,

C arl a

starts

out

the

CARLA G o o d -b y e . B ETTY to m o fr ow . s ta nds

rq donr4 Jv_
|

Se e v o u Car l-a
rhl

e x rts .
tr-"J-"Y

Be tty
-nens

there,
<ne
- Jvt-

cal m.

S he hears
oht tO A frer x_ Lu_
q

the
^ D On, S m-martr
- tl U l L :c:. * ,

l - ir cn ".. o ; f i r - e-

n ' 1 a r r i h .i Sh e

r ln q r ^ th e

Wa ]ks s1- ra. rlrG-Yr .r.rFq i nei ri +vc e _ :r r ,

s he

re a p p e a rs

h o l d :,n g

a n envel ope

rn

her

hand.

ED- # C1 1 ? ,/p 1

1?

BIue Production

Draft

"The Wheel"

8/13/07 12. 10

10

(DAY 2 rNT, DRAPERHOME- KTTCHEN- CONTTNUOUS

qoa Ial o tho looks in her hands She walks into the kitchen, sealed. still She f lrps it over' sees that- it's pironu bill. 'itre puts it in her coat pocket, starts taking acorn squash out bf the bag.

11

ROOM- CONFERENCE COOPER rNT. STERLTNG

(DAY 2)

11

KEN, Pete, Harry' Don and DuCK sit at one end of the table. A table' the of rest PAUL and an extra sit around the pad' Cooper steno a with side sj-ts off to the secretary stands rn the oPen doorway' COOPER I am sure bY now You Gentlemen. with lilr. Phillips's are familiar pedigree. (rc HarrY) Son, if You're going to wear the wear it rrght' tie, right As Harry levels his closinq the door bow tie, Cooper nods to Duck and exits,

DUCK ( stands ) When I caII a Fjrqr fhrncs frrst. after me You meeting, rf You arrive are late. PETE (sotto to HarrY) Shoutd we take a knee? DUCK Boys / the stock j-n our stable: Bethlehem Steel, r,ulXy Strike, Maytag. ( then )
ne, N - a l rro mo b i I e, a' rIt bl ue n h :rm a -Pu t i e al s. N o v Plru!.rrs chi P s.

i,eople want cars, theY want to alwaYs be Pain. there wiII KEN Tobacco i-s on that You're
,r D6ir lr r on:l
r\eJsw

flY'

l-ist. right?
the

DUCK Cosgrove,
behrnci
r ' ,r - 'l

The

nnr ^r o- hr - , r ' rs e yvwe!

(re:

PaPer)

* * *

EP#S113/P113

BIue Production

Draft

"?he WheeI" 8l13/01

IJ .

KEN LL' s called Actually, Cr zor now. The others are enjoying hin

the

Relax-aon.

being

picked

DUCK What the hell is PAUL

Tf t e : r .r oi nht- l nqq

it?

r i or r r

ro

r ^r i th

female Duck }ocks at

pleasure

payload.

Don, amused. DUCK

RealIy? Don nods.

D.I]'T {
i':n= i n qari

/- v N N T 'N \ vll3
\

ntrq

f'm offerrng a $100 bonus to the iirst man to brrng me a meetlng wrth a decrsion maker. An automotrve meeclng. I miss my Triumph. Duck hands a srack of mrmeographs to be passed down.

DUCK (CONT'D) of people you should This is a Iist Your expense be havrng lunch wrth. accounts are for new busrness, not
l-lal i | u .nr !v! /tlron\ T f r.--h+ wallL wuu LU ytlh tull i nra !tlL9 nontr] pEvurc. o +l-,^ LlIc ^acroJ. Jg!! :ri E uqt !a!: l nnn'1 pvu! |

Start
Cn

wrth

some ]ow-hangrng
nl ri r r o:r nnnl r c

frutt.

f hr nr r ah

DON
rT'^ ^!tiaL ma ^n^ lltqqltD a'rryrrhnrlrr cvqlrvu9uv. ir'iri vl!lugr) t orc |

tn n

Fri

nai

nd

i n

bU S fneS S

fS

the

key to
and v o' r r

your

salary,

louF

status,

s el+ - w O f t h .

I went to
m n r n in a :n .l

DUCK the Athletic

c :f, ;i -p thg

CIub thrs
S team fOOm

fo r

an hour

and a hal f. (M OR E)

F D # s 1 1 ? /p ]

13

BIu e

P roducti on

D raft

" The

W heel _" 8/L3/01 L4'

D UC K (C ON T' D ) pounds and trme f l -ost four fn th a t th a t K odak strl l fe a rn e d i sn' t h a p p y w rth th e campargn for thel r
nF\.7 q l ido JMs nrnio-t^r v!v-t su LU! . Td rf =nrr qrry nF vr

rhis

sink:-ng :-n?

Thank you.

The fellahs look at each other, Duck looks at the door. gerting Pete walks by. start up and walking our. Campbell.
-l^^,,+ d IJ( Ju t

DUCK (CONT',D) Don here tells not smrling.

me things

yOU.

Don }ooks

at

Pete,

Pete l-s wary.

PETE L;ke what?

v nr r r
Cn -1r1r

f l3l

a m i '1 v
-l-rorr rha

DUCK

i s

nart

rh:

hrrchoc

)ore

nndS

a WkWa*l *r "l"' - T r .- WOIn UrJ

^,r+ t Uu

1-)on UVll

ctanci s D LalluD

pD ql .

DON Kodak, huh? It's

' n' .r T' h cl1- o t^'hOeVer

not

an aarlrne/
c 'ptS Y"p - .t haS a

shot

at therr
/ ^^J\ irvuD \ J

frlm

busrness.

DUCK We saw them at Y&R, I'm rhey're stil-l - lookrng,

f hom
9 ]r 9 l |. j l v!

surprlsed I can get

haVe to
. + -L.

hor o

hut
rJI--+ YYIIAL

rt
/ ^ D

wiII
I ^;r !E!

be

Llllb -L.

-,^^lWUEA'

V! -.t

They're
^^* *- t - ^ , . ^

taking
F^ ,,-

three

meetings.

m L^. , t llEY

L^-J llEqu

^, .u +. u u

12

] NT.

S T ER L ]N G C OOP ER -

E N GTN E E R ' S B OOTH _

(D A Y 2)

I2

PEGGY, Ken and an engrneer, TODD, 20's, sits behrnd them. they look through a and buttons, There is a boarC of slrders Ins:-de stand studio. wrndow rnto an adjacent recording ANNfE, 2a' s and a cl-assic beauty, and NoRIlA, 2C's and plain, The women stand :n a lrne fac-ng the RITA, 30's, zaft:g. A rrbbon microphone on a stand before them. booth. ANNIE ( reads ) T love the wav it (MORE )

tt . feeL

makes me

EP#S1131P113

BIue Production

Draft

"The Wheel" B/13/07

1/+f|.

ANNrE (CONT'D) Wrapped i n the soothing Pleasure The ReIax-a-Ctzor ' that- reduces. secret'" mY lrttle ft's

EP#S113/P113

Bl-ue Production

Draft

"The WheeI" 8/13/07

1(

PEGGY (presses button) One more tr-me-Thank you, Annie. ( Iooks at a paper )
r 1r Ld..

RTTA
r'roadc t' \ n p \za r \ th o r r o l .t i + w orrl ci hannen t.ct

ine, but I regarned my youth and my Just ask my husband. f happiness.

J v v es !,

qr ^r o: r -

ho
rrv

' l onk s

et

me

like

the

n. nht

w e m e t. " P EGGY Todd)

(ro 'l'ooo i T odd tu rn s d o w n th e

mo ni tor.

PEGGY (CONT'D) I think we're both gorng to on Annie. KEN Which one is Annie?
/ cm i I oq nf f Ponc r r 'q
."::JvlvvJL/

agree

I nok

Be l i e v e
n ' j .lo r -r

it
n t r v^ f

or
v |

not,
ehp's

l rke
.7 v '.r.)r

R i ta.
i ha1rrOi C g.

T t ' s ra n d v a nri know - no -T,rke A nni -e bel ongs R e Ia x -a -C tz o r. dubbed rn. w rth R .l ta ' s voi ce P egg y D re s s e s th e b u tto n for the

thg on TV

mrcrophone.

P EGGY
f n r PssPs hrtton \

Norma, thank
hlnrm= !\U!lltq/ I h Ill c i i anno q:\/q DalD -!Iglluet

you.
aand-hrro yVUu-!Jc

You can go.

tn uv ihe ulls iT^7A Lwv \^7-mon wvltLGlIt I o:rzoq !ssveo.

P EGGY (C ON T' ,D ) (to Ke n ) w ant F i rs t o f a II, w omen don' t b e s e d u c e d b y another w oman. KEN th e

to

What
\/^ r r :ll

about
eei :uv

product?
rrn uY, rrnht?
! + Y 1 r; t

It

makes

q o vo r i

EP#S113/P113

BIue Production

Draft

"The WheeI" Bl13/07

PEGGY Whatever the specral propertres of the Relax-a-Crzor are, what we are seIl:-ng rs confrdence. A better you. That woman -Ls not a better anythrng. Annre is a confrdent beautrfu] woman. You could hear 1t rn her vorce. I can't
: r flr 1 - n e n t
Kon nroqcoc l-na

KEN believe
.

I'm

in this

frrrffnn

KEN (CONT'D) (presses the butron) Sorry about that, Rrta. Hi Annie, I'm Kenneth Cosgrove. Congrats. We'II do this tomorrow. Check with
?occr r
--:r:Jlvg!

hor o

f nr

r r nr r r

qoqqi

nn

A nn i e .' F n s

o n r-e a n d
vr-ve s r .q

ri i nq
qi v J

at
\ g v rl f 9 )

rhe

knees.

R i ta

l eaves.

Ktr N]

/T-.)N T'D \

(t.o Pe g g y ) If I g e t a h a rd ti me about thi s, f ' m te l l l -n g p e opl e rt w as your

.i l^tuEa.

PE G GY
Ti r .r r c mrr ir lor

13

INT.

PETE'S APARTMENT - BEDROOM - (NIGHT 2)

13

Pete lays rn bed reading Ma:r Th_s House be Safe From Tigers. Trudy gets into bed, brushrng her irarr. TRUDY ( re: book ) What's that? Alexander Is Pete cioses ic PETE Krng. He's a humorrst.

TRUDY funny? ile stares at her a beat., thinkrng.

che book.

EP#S113/P113

Blue Production

Draft

"The Wheel" g/13/07 17.

PETE ( smiles, turning ic You don't really care. I do.

I{o Qh o rir onq nr r fq

on )

TRUDY Actually, f

really

do. over and kj_sses her.

the book on the floor, leans the brush down, pleased. Just TRUDY (CONT'D) a mrnute. t' Il be riqht
O n hiS at her s r_c vej e .
r f

back.
s 1La ql r r s uD
o

Sh _- - _ e

ou-s r

her

hand

+1 . . 1c r n r _u
YU

Hc
llE

q i6nq D l vp a

ner.
F E TE
iln r r nr r h:r r o ruv n?;

* * *

P e te r,

TRUDY th a r' s ri sky

r E 1-L
/+l-'^,rdl-'++,,'l \ urrvuYrtL!ur/ \

l - ,.^.t

- ^^-

- L. 5

J - Sn' , t

rt.

Th ^ r r d h r

TAY

T m o: one second we were r o: r l r r l-ook at us . Frne, Iook at me.

t 4 r, L e

44.

He shakes his
Wh a f
uv

head. TRUDY
lug.

hnnerr?

V ott

..en uurr

JqJ

q:\t

:nrzth i nn qrrJ urr:1-Y

I can't
J lLta^c.

PETE provide for

a child

on what

EP#S113/P113

BIue Production

Draft

"The Wheel" B/L3/07

'1 Q

TRUDY
Mrz m nilr or c^!tc ,,T f VO 't W - r fv abgpt

how much chrldren cost/ never have them. " PETE

ri. =i Itrau , n D naf ltuL aamf uvlrtlUr

you'I-

' l iko

67i- urlls. i 66

.Frrrrlrr r! uuy

I' d

to

h r in o

mrr

chrIri

rnfn

et

Ieast
i-

half

of

the

world

I srew up

Don't

TRUDY \^7orry about that.

r LTL
rnral-.i vlrrrY \ y! na\ /

How coul-d I not? TRUDY You can't. PETE

l\ed.!Iy.

* * * * *
emotfonal.

TRUDY
Yntt .in' i \r r - r r \/ :'nntr i r h:t

PETE
/ho:t )

So stay
Ho k- c qes hor

here. . .
S h e 's
M DITNV

r ' lpenl v .

r ) atnv vr. I

*
J g;Ir Y

Sh e

c ont inues

k is s . no
'+

him

s e x r '=l l r r

rrndnina

his

naiarnas

* *

PETE You know r-t m.ght not Don't rell anyone. TRUDY
n V_ UUUT Jg.

just

happen.

* * *

She starts

kissrng

hr-m agarn.

Fete stops.
I ro

* * * * on *

PETE Obviously, I know your moE her. tell

T rrrd rr
tnn nf

\7^r r

c ni

nc

in

ai

aa
hor

loq

Aq

ihor r
-'.v-1

l ei

cc

, he pulls

her down and rolls

EP#S113/P113

Blue Production

Draft

"The WheeI" B/13/07 18A.

1A
I-

14

rNT. DRAPERHOME- KTTCHENBetty rs sittrng drinkinq wine.

(NrcHT 2) rn her nightgown, in.

at the kitchen table ft's late. Don walks

DON H o rr N l ;6 j 1 9 . He k i -s s e s h e r.

BETTY ( obligins ) ft's nine-thj-rty. Why drdn't lust stay rn the city? DON I have work to do here as weIL
v or r i S? k now whpr o ihe

you

Do

sl i rJc nr-iector

F.D#ql1?/Dl

1"

BIue Production

Draf t

,'The Whee],' g / 13 / A7
'to

BETTY The slides are in the top of the closet, but the slide proiector is broken. Something burned in it and you said you were going to drg it
^lrt

He puts

hrs

sruff

down. DON

dnf

BETTY So you,re not going to see us for four days and you, re not. going to DON Rrght when r walk in

Bets.
r ionr )

the

BETTY f ,m sorry. I, m sorry, a terrrbl_e day. ( beat ) Srt with me. He sits next to her. He shakes out

3ust

had

a cigarette

DON What happened? ft,s She locks

har r .r i.o

BETTY horrible, Don, Don exhales,

uncomfortabl e. B etty si pg

at him.

BETTY (CONT'D) Francrne told me Carlton has been having. an affarr. DON ReaIly. Don sits back, a lrttle relieved.

BETTY She was in pieces, Don. Know what to say to her.

didn,t

EP#S113/P113

Blue Production

Draft

"The WheeI" 8/13/07 20.

What could
/ r ir on \

DON you say? she told you.

I'm

surprrsed

BETTY f^7l.rrr? She,s lrke a slster DON (strokes her arm)

A VI ^ rV . ,U -a ^g U IJ ^ lI.I^ D E I JJ. ^

to me.

i rhan T aalr

\ hnno rrnrr Lnn-

. t ooK/

,,..J\d you

^an c a n '! |

.i. r IX

this. I don't want you to this problem on yourself.

take

BETTY I never liked Carlton. Under aII that polrsh/ there was always somethrng crude about hrm. He never took a look at me because he's scared of you.
t-]n n r :' koc r qin nf hor r .r 'i no

DON
- - lo t^r : q ne\zar mrr f 3y g;i 1g .

She shouid
noi i- lp A

BETTY po:-son hrm.

-oS S .

It

would

.tr a Ar

D ON
llir tlo q mi l et

Now you think

she should

kill

him.

BETTY
/amniinnr l \

H o v " rc o u L d s o meone do that ro l orze? n P rs o n rh o v That. rhev -...]-.." ] c h rl d re n w i th ? D oesn' t thrs

ma:n r nr r thi na?

the have al l

DON
ia7hn dn knnr ^r q r ^r hr r nonnl o r 'l n r ^r hr t fhor r

Berty really down.

stares

ac hrm.

The:r

eyes meet.

She ]ooks

EP#s113/P113

Blue production

Draft

"The wheer"

B/13/aj

DON (CONT'D) Come on. Let,s go to bed. ft,II still be here in the morning. I don't Brrng They get up, 15 rNT. BETTY know if I can sleep. DON the wrne. off the lighrs on the way out.

shut

STERLTNG COOPER - DON'S OFFICE _ (DAy 3) srrde projector on Don's desk.

15 He and

Duck puts the carouser Don ioo,< rI, over.

DUCK ft's actually a hell of a gadget. It's contl-nuous. It doesn,t lam. They caII it ,,The Donut,, or ,,The WheeI. " They're expecring somethrng along those lines.
" Ko d a k T h e y ' re
+ r h^ u!lttED. -

DON re i n v e n te d The W heel . ,, g o l -n g t.o hear that ten

D U CK K o d a k rs l o o n e y for rechnol ogy. It' s e x p e rs i v e , but rhrs thrng has a c tu a l bells a nd w h:_stl _es. They w a n t y o u to u se the w ords ,,R esearch a n d D e v e l o p me n t,, i n the ad. D ON a n ai r

Looks

like

fi l ter.

DUCK ( Ia u g h s ) N o t to d o y o u r j ob, bur rf you frnd a w a y to g e t ' ,The W hee}" and ,,The F u tu re " i n to somethl ng w i th some
I eclq vott r - oltIci m ak r l tu nL o m o tr .e I vvA nnl r a naad sVVq

my first Duck l-eaves.

month here. at the projector.

Don stares

EP#S113/P113

BIue Production

Draft

"The Wheel"

B/13/A7
az.

16

INT.

STERLTNG COOPER - ENGINEER'S BOOTH_ (DAY 3)

16

Peggy and Todd are in the booth. Annie is visible throuqh the window in the studio, standrng before the mrc with a one page scrrpt on a music stand. Ken entersr presss a button, Ieans forward to a mic as he sits down.
KEN Hi Annie! ANNIE th e re .
fn Annlo

H e IIo ,
Ken n:lm t.z:r zeq

PE GGY
in r e sse s i hp l -rrri -ton't

I know it's long, we can take it in preces. Todd wrl-I splrce che best
ne r1c f nao]. hor

ANNIE
/
\ 1r VU rr ' -9lr r! ^' rY n1-

i/ Jl l Vtr !u vr D -rn

tnr e

D w g g L ,/,

qr ^z oet

Now?
hannen

"f
to

never thought
mo
I

it

would
i norl r .ny

l rrrtL4e

T
-

youth and my happrness. Just ask my husband. f swear, he looks at ne lj-ke che nrEht we met." FEGGY
i'nra<qoq rho ]-rrrtf nn \

-_:*--.__

roa:

Annie, I'm sorry. Ievel here. KEN No we don't.

She doesn't PE G GY sound KEN
Sho ittqr qr :r i- oni

We have to

set

a * *

very

confrdent

Ci

rro

l r or

d i re c tro n . P EGGY
/ nroqeaq hrrti^n \

/ ' r lr = r '

t r nn. i a

lOnf

f denCe.
rqurru9.

Okav:
vn a J

'

ANNIE
Olrrv hanncn llqppsrl "^"+L Y vu mv LII tt-r t-a) uv --l atIU ha\76r mc -tLgt *'lLty lrrrt L-e L rnnr llouprrreo T fLrrvuYrrL l-rnr.ryl.,r T * noqq ron: --:*-..-* D , i f 4u i nod -Trrcf U u) L 'l nalzc t.'^rlId wv( r .ny dbJ! --1'

httqir:nri

q\^7o2r

,..-

ho

me lrke

the

niqht--

''

---,.i

a--

* * *

EP#S113/P113

Blue Production

Draft

"The WheeI" 8/13/07

111 L an.

PE G GY
/nr eqqoq ^- - .1 ^t tho l r r r r - r - nn\

ANNIE
YOq /

* * * *

nf^^\/

i nr oqqoc Ar o \r nr r mar r ier ' l?

lr r r ttnn

ANNIE
\l^

could

KEN h a v e tol d
\- ^^t/ P ts .( -( \

you

that.

/ nrocaAa

hrrf eqvvetL

nn

\
)

IaTel I

f rrr

enr l

And Ann: - e. c t z er r r f hino-

.:-. :JU, -no w y o u h a v e YnU afe b e a U t f f U },

i m ani

na ..*

\/- r r

t ya

\r .

You are slrm. You are che beloved prrze of a handsome man. You have
Lr zor r r t- h' no
-' -J

r .r hon

\t- 1r

r r qo

the

R e'l

:v - :-

CL Z CT .

ANNIE
/centtrno\

EP#S113/P113

Blue Production

praft

"The Whee]" 8/13/07

KEN (to Peggy) f t's too bad lrour vorce annoyi-ng. Peggy waves to Todd. Annie beqins

:s

so

agaj-n.

"I
mp
r l | 9/q.l gl l u.

ANNIE (over confident) never thought rt

l^r tr 1T r pc: r nor 'l

woul-d hapnen to
mrr r r nr r th :nd mrz

hapoiness. swear-- t'

Just

ask my husband.

PEGGY (presses button) HoId on/ we have a problem wrth

i r na r onnr r ior

the

(to Ken) She's not convincing. beli-eve it.

She doesn't

KEN She sounds just l:-ke the audition to me. She might look a lrttle
l^+ +' psuuif.

PE GGY
J *J

Q:r r

q 6 lp p r h

I no

ro

hof

Make

hef

b e a u trfu l -. fe e l c o n fl -d e n c e th at KE N
)eaq LLJrt O WultialI .';^ Wtl(,

Y ou know that comes w rth beauty?

a^^l-^ lU(rA>

1-l.^ t-Lr\E

5'--+ Llld.L

w rl l she

n e v e r s o und confi dent, n e v e r i s confrdent. P EGGY

because

Ba Io n e y . KEN g od' s
mhe
^a+ -lrE +^ _r ^-+^L

r ^ - ^ ' - - lo r s!aLIlc!J!D. r'L^ ^^^r

Honey,

iL's

gr:t
i trc-esf u-v-LJu

to
l azc't1o vq494!E
_

tS

Doacrz rsYY-Y

I nn'rc IVVAJ

rlnr^rU9Wllr

EILUA!TAJJEU. ^h]-^FF-^^^;

vF\.t Qnr r r l /nnintq IJor z "- J I Der r l i{ r hr q n qor r

/r r nl T r nf \ vvrrr i naor \ c:

n\ u )

i A

i r

-Ja I c

such a cornball. (MORE )

Ep#s113/p113

Brue production

Draft,'The

wheel"

g/n/a] 24.

KEN (CONT'D) ( then ) you think he does welL with Can we just PEGGY try thi s again?

girls?

ANNTE f have a 1ittle bit of a cold, my throat. Can I get some pineappll 3Urce ? Ken gets out a cigarette and }ights it,

PEGGY (presses button; There,s a glass of water in the corner. That,s great for your throat. Annie nods, takes the glass of water.

PEGGY (CONT'D) (to Ken) f drdn't belreve that either. (:::::?" button, super Let,s -wss try again, Annje. Confrdent. Beautrful. Peggy nods to Todd.
L /

Happy.

AN'}iIE (happy, confident, beautiful ) "f never thought it woul_d happen to le, but f regained my youth ana my hapoiness. Just--,,
PE C C Y
/nreqcad i\rr++^n t tvLt

f 'm sorry. Annre . (Annie nods ) How do you feel right A}INTE Nervous.
- F A^r /

\ l

now?

(presses button) No, not you. The \,romanwho j-s you ,re marr.i ed. talking. Eiqht wonderful years (MORE )

EP#s113/P113

Blue production

Draft

"The wheer"

g/L3/oj z).

PEGGY (CONT'D) Maybe you put on a few pounds, but then you got the Refax-a-C izor , and now you're back to berng you. Ri ght now. f don't ANNIE know if I understand. KEN Lee Strasberg.

Nice work,

PEGGY (presses buLton) Annie. What don,t you understand. ANNIE I am berng me. Are you cross? Give me a second, f,II get it the way you want it. Peggy :-s about
nFFi^ d! r I,r-c s ^^^ ^ es e -L^-

to

tark,

Ken grabs her

fans her face

finger
w i th

off
her

the
hand

button.
and

^lr-ll n e i n !ta l k rn g ,

rrre hq

fho

r ^r :i- or

KEN
I oc t *rr*,]11 l 'tLtr_l ( r L .,r n , .rrr t' u rS wn u. ' jo uu -v happen now? l sm i

qO r ng

tO

(to Ken) Do something.

.l -L|:tr

KEN (presses -,he button, charming ) Anyt i me you , re ready, J-ovely . Annie smrles and tr-es again, but her vorce rs quaverrnE.

A}INTE ( shaken ) ,,f never thought f 'm ready. woulci hapoen to me, but--,,
Qh o cor c uJ - su nhnlzad ur r vl= J UD, "^ Can ^3h,+ ' f Speak .

thrs

fs

PE GGY ( p re s s e s burton ) th e re s o m e thrng w e can ANNIE b e rn g so mean.

do?

Yo u ,re

EP#S113/P113

Blue Production

Draft

"The WheeI" B/L3/01

-a

ft's Annie tears up.

PEGGY (presses button) Annie. frustratrng, Ken looks at Peggy. He can't believe it. )k

KEN Look Pegs, you dangled her in front it. of me and now you're ruining Don't do that to me. PEGGY Kenny, be professional, rNT. would You?

L7

STUDTO-SAME TIME (DAY 3) 17 - RECORDING STERLING COOPER lhe nic.

We see Peqqv }ean into

PEGGY (t.hrough speakers ) We're This .rS not workrng out. go j-ng to have to let You go. Annie covers her eyes wrth gets her things and exits. ' 18 INT.
De oo v
- ' YYJ

her hand as she rea1ly

cries.

She

_ ENGINEER'S BOOTH-SA]{E TTME (DAY 3) 18 STERLING COOPER

si r s t her e
|

qhr - r r o s '. 1 L 1 'J v .

Kon

looks

at

her

KEN Yo u k n o w , y o u coul -d th e re a n d s a rd that. PE GG}

/ c' 1 nqoq v :v !
\

h-ave gone

rn

hor

or r oq
-J --

\
/

In rhrs order, I want' you to go Tiren, afrer her and console her.
At pr v or r m ak e n l a n s '- h r r nt r ll=Eu nood io r i o . I IT uv WAll uv vuu
R- r . e - i- h a o l ci e-

ot yuu

S h e ' s p ro b a b l v r ght a -C rz a r

'l a.i v -3-_r

what.ever L9^ Cai]I t keci ?

vort

home w l -" h now .

the

R el -ax-

I r,,rOnf I

F Dlclt? /p 1 l?

Blue Production

Draft

"The Wheel" 8/L3/01

PEGGY (CONT'D) (Iooks at her watch) Get her in here in the next ml-nutes , the ; ob rs hers ' Ken leans over, pats her on the Peggy watches him go. out. rNT. - BULLPEN COOPER STERLTNG

fortY up and walks

head as he gets

19

(NTGHT 3)

19

through As we move through a piece of the dark ernpty bullpen' at a looking hrs-desk at sitting him Don,s open door Jna find room' the in light only the lamp, slrde against his 2A TNT.STERLTNGCOOPER-DON',SOFFTCE-(N]GHT3)20 burning in the ashtray of rye and a c;garette A half bottle He into the wheel' slide the puts Don desk. on his sits we see May.'l "C3pe The box says a box of slides. "chriStmas/New Year',s other boxes marked,,sally/Hospital," up to the lamp' rt holds out, slidb one He takes -p."= '56." stops' takes a drag Don another' then down, it puts f-ar-r'girs, onhiscrgarette,exhales,Iookingattheceiling'thenlooks He opens the He wipes hrs mouth' down at his desk drawer. through sifts opens He box. drawer and takes out Adam's -it, a with he and Adam of one The one on stops some pictures ' ' 1944"' and Me ii over, !t' s stamped "Dick He flips not=". Hestaresatthepicture,alitrteemotional.Hepressesthe away' Iooks at it' It agarnst his chin, then pulls t;p-;i 1t stares out the head, hrs strokes He puis it in ihe box. puts:-t at:-t, Iooks lap, hj-s to closer box the window, holds hrs of sip a long After a long beat, he takes on his desk. whiskey,Lt'sstrong.Heprcksupthephoneandhearsadral tone. DON (to phone ) Get me the Brrghton
Q^rrtro uYqqr v.

Hotel--

Trmes

Just
Tf
L v L

OP E R A TOR (V .O.) s-r. a m l n u te'

ri

l L.ae

ndq

2I

INT.

B R IGH T O N H OT E L -

TIME S SQUARE _ LOBtsY _ INTERCUT

2L

( NrGHr 3 )
T h e N IG H T MA N A G E R P i c ks uP the phone.

Ep#S113/p113

Blue Production

Draft

"The WheeI" I/13/01 28.

NIGHT MANAGER (to phone) Brrghton.

DON
v^^ IE51 !' ]. Ullt D9!!f/ - Ar r !7 iuv -n hnhpr v v ur rs! VOt: SO

Iate.
rugrrsflu c neni-

I'm
v or r
Jvs

looking
had coma

ior

someone.
aoo.
-r-

months

NTGHT MANAGER A g u e s t. DON a } o ve to know i f he l eft I' d Yes. f n rr^ rarc l i n o a ddres s . H i s narne i s maY be. fl oor, Fi fth A d a m W h rtma n .
+v!vvg !v+..:

R i o h t-

NIGHT MANAGER L-* --:- " yUU Can T W11C1L J5J! -

war

' --]l ?

DON f' m address. a fo rw a r di ng Just trrz i n o tr-r H e haS fed hfm. -o ntact Over srx feet. harr.
vL J LL.Y

L:-sten. about.
f n J-ol l 11IILIDEI!.

NIGHT IVIANAGER I know who Yo-1 're talking Jesus, I hate -uo be the one
rrnrr tht ----b I L.-! UUL L^ IIg L.,n^ IlulrY

nn \1 / cf r r nnor l \

What?
NIGH T MA N A C E R

DON
/r ru;.] r r ino \ - ;r : i-n nr or - eqq\

Ad a m Wh :-tma n. NIGHT MANAGER

lt^^L

: e d t].

r 'n -^ Fy - !Y - l- r tt 5ul r th cn ) T

H e } e ft
m^no\r Itt9lrEy.

th e
The lllc

burl di ng
c u rr L _ Y tr r r!vvr - ok \

a bunch
ie .1. 4 Tt

of
r .7^q

:-n the
ah

Post. DON

EP#S1i3/P113

Blue Production

Draft

"The WheeI" B/73/07 29.

NIGHT MANAGER
He io t- c) h e i-ha onp *o oi :- ve -

i .hat

DON
/ di n l--,, cirrnl-oA \

He hangs his Hrs hands seem uneasy. Don hangs up the phone. puts hands. head in hrs hrs head, Ieanrng forward, 22 - (NTGHT 3) rNT. DRAPERHOME- BEDROOM 22

She lays there for a Betty r s layrng in bed in the dark' She opens beat, wrde awake, l-ooks over at Don's empty side. She the drawer to her nrghtscand and pulls out the envelope. She unfolds over and opens rt. flips:-t turns on the lrght, f}:-ps the page to the itemization section, the phone biII
nrzar Tho- o ;rtr pi oht nho-o r.:l
ve+-!

I q.

r.he
e

iour

in

the

center

are all a week apart takes a deep breath, 23

to a phone number wrth stares at rt.

an "MH. "

She

_ UPSTAIRS HALLWAY_ MOMENTS LATER INT. DRAPERHOI'TE (NTGHT 3 )

23

Indra:r sryle, Becty prcks up the phone and srts on rhe jloor, She dials the number slowly, the phone rrght rn her lap. burns rn t,he A cigarette before the last number. hesrtates It She holds *"he phone to her ear' as htray on the floor, A man' s vorce prcks up. rrngs , once, twj-ce. VOICE
HEIIO '

BETTY ( re I reved )
Voc IcD / L^1 1^ 1lg!aU.

Who is
R o i tv L
us LJ

V OIC E th i -s ?
h a n r -r.
I r u r i Y r r rY

iulh l l r l ^ -i n l' s

p ;- r n r r -

11 11 r16

;ar

m-mant
r l r vr r l e r .

then

f e-entS

Who is

B E TTY th l s ? V OTC E A rnol d

This

is

D r.

W ayne, she' s been krcked in the

Rc ttv ' s e w e s r:l o s e s t o ma c h .

She f eel s l -i ke

EP#S113/P113

BIue Production

Draft

"The WheeI" 8/13/01

?o

.A

I NT.

D R . WA YN E' S O F F IC E -

IN TE R C U T (N IGH T 3)

ai

HeIIo? to call
11>

DR. WAYNE Mrs. StanhoPe? I told You the service after hours.
I
r l V l u l I IY

l-

IIE

l..' ^

-pna=) Ee^J, r c

cr - i' l J LIII

hnlr l i nn

lu -lho le

nhnnc p l l vr r e

in

hor

c ar u s!

R P1- i - V

She drops presses rhe cradle with her thumb, dj-sconnectang. lo somewhere closer there/ floor/ srts pnone the ro Lhe We hear the phone start to make t-he ashamed than shocked. 'off the hook norse.' 25
r NT . S T ER L T N G C O OP ER D ON ' S OFFTC E (N TGH T 3)
r^rrnri htrfr;olhia :nn r;^ r-ha

25
own, Ll_e q -l^'.

The desk lamp rs

n rri ldina q- * 9 - l ; Y
'

still
l:r r e an

cn.
tho

hio nnrrnh

hoer

iho 62qqqal

aq

ilnn

_I

6rri

JUL,

rtf s

on its srde on the f }oor. empty bottle qnm pi hi qm e'l A\7or r ^z :'t< i na I i no He rolls em pty next to it. H e becomes more al ert, hrs eyes openi nq. the air, He sniffs
e .,.e ,L 1 .- a - - ..- .- - n g

H:s glass
the

:-s half -

'

qta ndq

nn. T "E

oot s

his

bala n c e

ana w atks

to

door.

H e opens

the
I NT .
Flnn .,; wr +L Lrl

docr.
S T ER L IN G C OOP ER _ B U LLP E N qooq a IJ:rrtl ^*^1-.i DrttuN!rlv --

zo

C ON TIN U OU S (N ]GH T 3)

26

in

fho e- r e

l.r r l l nc n ve -4 I / v -.

i-n his

BVDs and socks,

walkrnq

+--^L^-* u! G-ltuo1l.

nl

DON w e o n fi -re? HARRY

/ qr r r nr i cor l \

Don.
n^6 ^+ - -^^ ^+ ]. .i *

H A R R Y (C ON T' D )
\]n .\v 'T
I r I

rrh

r l r nnnor i

e i n:

r ei -

i- o

r n

my waste basket. DON un.

/ t hpn \ r : or ne h e r g Ha- r v y ou. Io HA R R Y v ^e, .
nul -n v d^oq
Yvvr

w ant

+^ LU

r^llLATA

r nta

hi

nf

=-

r 'e

H :r r v

nr l i - q

dnr.rn

t-ho

a:rnerrp

n:i

and w a l k s

over

quickly.

EP#S113/P113

Blue Production

Draft

"The WheeI" B/13/Oj 31.

27

rNT. Harry Harry

STERLTNG COOPER - DON'S OFFfCE - CONTTNUOUS (NTGHT 3) 21 comes rn. Don pours hj-m a drink, hands it srts in a chair, Don sits on the couch,
DON

to

him.

W here's mine ?
at Don re a c h e s vour HARRY fe e t. rt up.

and picks

H a rry .

DON w ant to HARRY

tal k

to

you.

c:n

avn' i

:in

DON Y o u ' re i n m e di a, y o u th :-n k . HARRY

but

l i ke

the

w ay

( unsure ) Thank you.

What's
Don n o i n ts o rro -

DON the benefit

hjs s h oul ci er

of
to

that
rhe

thing?
nroi or:tnr

H m m . Se Il s w h o a l re a d y

HARRY proj ecrors have them? DON a bett.e= HARRY Doesn' t

ro

peopl e

Bur

l -t

rs

proj ect.or.

i'm

s u re .

l dR ,

ri ght?

DON And "The Wheel" stacks.

\/ar lr
in uv an Yv.

You store
r l r ar r , -""J ro r o:r i r z

ql

r doq

i n

i i

anr i

HARRY
T tm qttr nr i qed i har r c l on't
u

r /o -r
Y_vv

+,

I J-

away.
r ^?- r q

They're
r r nir i)

selling
Ei lm

blades,

not

ED# q l1 ? /p ]l?

BIue Production

Draft

"The Wheel"

8/13/07 32.

A I ol- of
if

DON e x o e nsi ve

R & D w ent

i nto

ntrl1l1I T l- nnlr ni cttr r oq

;nr
m=ahr
r[ s v ra ! , re ! J

1-ha
narrr

naner
rv

a.l

Wisconsrn.
dofinifol\/

The
n^rt

I q

of

the

fun.

It's

mechanical. ( Iights
In .th r f vllrqL d i d u!s
Jvs

DON crgarette
i :ko ni

)
r-i . rrrpc of ?

rrorr

HARRY
.I L-:!ID 1r m ^ cr ' 1 rll9DLry. v,r rr vu
!-r

rr

Y nr1 !u u ncr 6ni YvJr r Y n:nFr.

r-n't I ri e vu !s tn ev

06.; rrD Yv

and a

ask them their

!!n

'I r rro s

na:nes afterwards
nrrt e
yu

wo wer r p I n

.a n sqP e -f vrr

icln

t- he

A nd

i tv In sc:me
3

craftsY A rtsY o th e r s tu ff. ' n h o v o a v e m e hel l about rt. DON k n o w w hy berng arti sti c I don't manl y. n e v e r c o n s rd e r ed HAI.R]
/ h.\dc \

stuff.

is

T ,- ' l cn i
-I-,-:;= T r'! lLt

.- im it no
. tll '-

;iti r -.

ri i ci n'i nrah:hl

have v

fa r
*^J; t[Eu!G.

Tt'q

t'ne w hv

nrL>J

r - * nr ;

DO N ^i ^+ , . - ^c
lr:uLu!sDf

huh?

Like

what?

Refl-ection Worse.
\r w q7 J F( ir rqT J uJ
u

of

a tree

.rn a PonC?

HARRY I drd a whole seri-es that

h a rlq r rn v d
way .i + lu

rf -l

nf q
f 9YD nnc r

nn
r rn ul ,

n'l aqq
:r nr tnr i q!v ur rs

Y Ou
ttottr ]v u!

r - - ^., +!J\.l.tLJw LtlE

h e a t?

Take

it

off,

take

a P i cture.

Bl a c k

DON a n d w h rte

suppcse.

Of

c o u rs e .
- a\zo

HARRY f w as al w aY s
t) ai ni noq e-

fasci nated
f ,:s a- AuX.

hr "r y*-f.. ho p)

They're
ve ars =q! )
J

lrke

seventeen
fho hr<nn

thousand
oer al I !'he

o _ v r sid .

but there attention, these hand prrnts. (MORE )

are al-so aII

EP#S113/P113

BIue Production

Draft

"The Wheel" 8/13/01 33.

'D ) HARRY ( CONT With by today's standards. Tiny paint blown all around them,
He holds

his

hand up,

demonstratrng. shaman.

DON of the The signature

q: v
" " J ..14v I

' Fhor r

HARRY ihat . hrrt

T rhorroht

i - t , Wa S

lrke someone reaching through the to us. "I was here/" stone right you know? Don stares at hrm, nods off reali-ze how drunk he rs, for a moment
l^)an qn:nc l-n

We

HARRY (CONT',D) Are you okay? DON

mL^+|'l1 flloL !! l-^ !E ^'11 all.

rJ:r r \ /
- jG ! ! J

c r oi- q
Y '- r

r r n.
"Yt

f anr ar ir z . ! -c v vl
L^
tIC

f.hen

qi-r-Ts
fulls ho r^-a
J-=qD

to
ri oor qvv! ''uY

erioe
!q t

not u lru l:rrc

L.t^ 1II5

In o k lvv^ n :ck
UW.II

ruv rn nn
,^-]J WLr! IU

aq aJ ih c
r ---E

I ^ ^ - - ^^ !EC1Ve:5 r - o r r ch uUUUlt
/ 1^.^ 1rr5

nd ^1^^; uluDf Il9 r Lrr.rtr'l s rD l1.J-D Uu!

=y =J .

'nehfnci -rmoqf allllvD

Out.
L

Don
hl -m. fotal !e 9q!,

cioeS
D On rn - lll

^l^^^^ U !U>C5

28

EXT.
Rpt r v .
r e- r j,

BA N K P AR KIN G L O T L.t

(D A Y 4)
r-oai-J s -t

2B
n r r r " l s 'n r o
S tafts

in
n :r

olor z pq: nd
:n d a o l- c

hearrt

t.he

IOt,
tuhe

She
entfanC e

tUfnS
and

nf f

t. h o

qhe

to167afd

spors a green Volkswagen where GLEN BISHOP (EP.# S103), slts rn the passenger wearlng a wrnter coar and mrtrens, She sees Lhe two year seat. She locks around, walks over. shy wave. Glen grves a l:ttle ol d sleep:ng rn rhe back seat. He does. She motions for him to roII down the wrndow.
G l e ::, B E TTY h o w a re you? G LE N
T r r n n r .r q r ln r \-qo.i ro i a I k r.o
--

vOU . J'

Wh n q a v q ?

BE TTY W l ^r sard GLEN

that?

Mr r ---t

m nihor

:nr *' ^-i

mrr " '_I

f:thor

don't

B E TTY c a re.

EP#S113/P113

Blue Production

Draft

"The Wheel" 8/73/01 34.

GLE N
Mr z m oihar i c .t-v 4rr r nd Y
:

t--mF

.) 111-

BETTY f don't care. GIen, I can't T+ | D r-^ :nr'^h^ ^ >U ^^ horrrble. urllvlls. lU uv
^^ ^-l

talk r,m it, Iooks down at

Gl-en reaches
h i m lor tr z r q

his
f :co

hand up ro her.
nr tr m hl oq - r \/r n-

She holds

GLEN Don't B or l - v l - j p s
- vvr f

c ry . sion r-rvi no h' ri -- C an' t.

lo

tsETTY
Dl o=co f o l I mo T ''l

'l

l .r o

nl r :r r v rL b J
'

I
T

th i n k
.,-^

so.
^1.-1^-

GLE N I don' t

know .

w i sh

Adults
ta 'i viu l' v t -l Llr Lr nr r Jloif r u ind
-urrlq

BETTY don't know anythlng,

d\jv nf vh: ll-o e h:nd rrrrrq/ P.or " !- \/ D cu 9 J

GIen.
hl ai !!vu - -c hor I- u ! or 9jur J oq ur ir wre r l- h iu '^^ llg

bac k

of

her

glove.

GIen

}ooks

nast

her

nervousl y.

GLEN know how l ong I don't re a l l y ru a e s IS . l- ;n ' l- ..+ B ETTY d ear. but

tw enty

Of He s ta rts r un b a c k

c o u rs e ,

ro l l i n g to h e r

u p the w rndow c a r a n d get rn.

stops

as he w atches

B etty

29

rNT.

- DON',SOFFTCE STERLTNG COOPER

(DAY 4)

29

Don sits at hrs desk, project.or in front of rntercom buzzes.

/ th r a r r a h Mr I)rrnar

rn a fresh shrrr but same surtf him, AIka-SeLtzer !rzz:ng. The

P EGGY i r - r-- --ttercom

I hero t-

t- a m n h e l

qpF

v.'r

Mf .

EP#S113/P113

Blue Production

Draft

"The Wheel" B/13/07 35.

Don turns a tube of

e i l 'l :nr J

around anci takes his open shaving kit complete v/ith shavrng cream and a Wrlk:-nson razor, off the wrndow
nr r tq it rn hr e c l oc L Ar :r ^r or

DON (to intercom) Send him rn.

n ^+^ rcL c ^^+ ^*^ Sr tLEl>.

PETE Just want to let you know, I took Duck's talk verv seriousLv. ( smrles ) Duck. And without havrng to crack
m r*r . *J v g iJear f . ..J Yrlv r el d r r o:r hnnl r T rrzo hr nr r al r i

r n an account. DON
f]nar i far r lnr r vu.
J

PE TE
T1/ q : ni , oco nf J- ho aD!4. I \/r rlzc f-hami n: I l^ nmnenrt evrilvsrrj norani-t:l nh:rm:norriic:l a'l U!sa!6:r--; th:n ^n\r hoi )^++^e Dg t- LE! rr:riiiinna' iarro

DON T h a t' s a re a l account, Il o w d :d th a r happen?

*
C ampbel l .

P ETE f' m n o t e mb arrassed to say, my fa th e r-rn -Ia w i s a forme:. sal esman n o w e x e c u trv e there. DON f a th e r-:- n-Iaw .

Your

That' s

P ETE
/th in ke \
Voc -v| ha'c I nior-qra-i r h *rr rr, :Ltl, =,rtul. _u' g.

DON
lqmilae\ T +l nnarattrl:tr nnc guess w '-; l t' n 1 ^rr^^^ -_ -..i . l i ttl e b rt of }aw yerrng you' re e n trt]e d to that bonus. f

PE TE
T me oot th e b o nnq. nnnk hr; A nei A rrn so m o
vvvvg ! -rrnnor R :nrl vsvs

-^r/a

(M OR E)

EP#S1L3/PI73

Blue Production PETE (CONT'D)

Draft

"The i{heeI"

8/13/01 3 5A.

JJo
Ilu

qoem oA

rJ qqrr qr i u r or s

9u

ee

hona

w ntt

th a t a re , i n v e s tme n t

have a srgnl -frcant i n thrs comP any.

t r p#q' l 1?/ p] 1i

Blue Production

Draft

"The WheeI" 8/13/07

D ON
Vnr r r in nnr ^r Anntl u

x r nr t vu
J

'

;t

m a tte rs

PE TE ro me that

you' re

i mnr ocqor l

DON
r ALl.

SeIf

worth

PETE and status. oul. (DAY 4)

You said

i r.
Pete smiles 30
I NT.

and walks

D R . WA YN E' S oFFrcE -

30
As Dr.
hgvvq e t

Dr.
ri wn s vo v Y. lr

Wayne and Betty

wF qpF F,ei- i\r
r

walk
h:r rl rrsvlrrY

rn together.
nr y i r r qf
- l svu

Wayne srts
r ^l a'l k a1- 161s q tO

'n11no
l l sr r Y

the

couch and lavs

down, settles.

A beat.- aat It's

.-.1 +L WI Lrr

BETTY Thanksgrving is hard.

nor\zA lrs! v s r.rranlri w! quNlllg na +^ L\J .J^-1 UEdl.

very
na -atti L LrrrV YE

r ho

f am ; ' l w t o o e t h e r -

didn't cook last year because she was so sj-ck. Now I'm going to have to deal with Gloria. She's not
nnnk i Uvv^Irry nn
I

Mv mot-.her - 'l

J -h. an k Llrarr[

!!vu

-^a

nlru

r *r

-,,
rtlJ

!-

r t_ttie

who brother. And my father, insists that nothing's changed-Even though the last few times I've
Jgctl Inct llr lttt hic

L l*

ttc

L^

t D

ttrn cr-t. Yv L LEr t

ri ql !^ u!rr:nk

and el

i- om nFr

( beat ) And I know that

a c hanee T' m irrst

in

some way there's

ooi no tn walk

around that house from room to room in tears. But it is Thanksgiving,

enr i T 'm c r r at pf r r 'l f or ih i nos Like

thrs. This has helped. doesn't think so, but it ( beat )

Be i \zrr vv
I

Don has.
me and Tt haS

no
t

ah'l e and
.

tn

ta

v4EJL,

l k. e

i rrst n:d

runrrr

I 'i ttl

he' lned-

qt i' ll
eu+r !/

T can,t
4

he] n

but

rhrnk that I'd be happy rf my husband was farthful to me. Dr.

q l -rrfq

Wayne looks
r ^r r il- r nn

ar her.

She :eels

his

eyes,

continues

He

F: Pg\t

ltvt

BIue Production

Draft

"The Wheel" B/13/07

2- 1

BETTY (CONT',D) are very children My brother's And he sPanks them. badly behaved. Don My father apProves of this. has never lai d a hand on the kids. it's but outsrde/ He's kind inside, aII there in mY face, everYdaY' Sometimes perfumeThe hotel rooms. know what doesn't He worse. or family is, he doesn't even have It makes me sorry for him. one. r should be angrY. When rn fact, Very angry, You know? That I Put Irke some ostrrch. up wrth rt, Sho enoaks a oeek back ac him.
* 5r

He continues

wrrting.

It's She takes out

BETTY (COI'IT',D ) isn't it. interesting, a crgarette and Irghts rt.

BETTY (CONT'D) We were married for two Years. and thj-s man's There was a party, to Don about how wife kept talking And she lrked to shoP in midtown. how crummy all the hotels were. theY She kept narnlng rhem until And then agreed upon a nice one.
m onf hq
4 q ve !

I ar pr -

we
'rv

went

to

the

And he said, Barclay for a drink. And I "f know the Perfect sPot." jokrngly And he said, "ReaIlY?" coughed, the waY he does when he lj-es, and said, "r have a Iot of meetings here." ( quretly ) And I remember thinking, You woul-d never meet with another man at the table where we sat. ( beat ) Somet:-mes The way he makes love-Sometimes it's what I want. it's obviouslv what someone else wants.
T h o ro ie : lo n cr r q r &v.r lcn r pvvv , hp -re f'] ' *-rpS OV ef a Fa9e t. t w wai u-ts er for her

B ETTY (C ON T' D ) means f' m not enough/ I suppose it hi m. ft' s b u t ma v b e ... i ust

EP#S113/P113

BIue Production

Draft

"The WheeI" 8/13/0i

She stops crgarette. 31

talking,

settles

rnto

silence.

She inhales

on her

rNT. STERLTNGCOOPER - CONFERENCE ROOM-

(DAy 4)

31

The pro;ector is set up in the conference room. Don and SAIVATOREare waiting. A tray of rolled meat with cheese, toothpicks and olives. A tray of marzipan layer cookres and SALVATORE No matter how thrs goes, what time clo vou thrnk we,ll be out of here?
i -l o n er :r oc er him

I'm ;ust a cake.

SALVATORE(CONT'D) askrng. I have to pick with

up

^*lu l at

door opens , Duck enters LYNN TAYLOR/ 40's.

Harry / JOE HARF.IILAN,3 O' s ,

DUCK Don Draper and Salvatore Romano, thrs rs Joe Harrj-man and Lynn Taylor.
! . ^ *l ^ -.].^1-^

DUCK (CONT'D) No Eastmans roday, unfortunately.

Ther r t ro a' l I h:r l r r n tho '1 :1- .

LYNN It's a wonderful facilrry, cion't rake vacatlons. DUCK

Wh a t
<hnt.r :

but

rhey

kind
nn?

of

sl

-ri es

:re

i -hcrr

T .rrn n:nr l

,Tao

I r r r nh

settle. DON

Don begins.

Genilomen fei
- * - ..J - - .1.- '

T' r z c ' lnna rimo

i r oon :nd

r ^r nr k i nn T /m nni

r lr .r

as ham ed
rl-,o L lr s 1-

to
t

sav

that
J

T '\ / o
nf

oottcn
l-frr n^ _.-_..JS -,-

In
,

r .r-1-.1 d r jI + L s.) m p ttm tr crvrLru u-rL!eo

--+^-t l

a +]-, i nlri cJI LII_..,._..* nn rn ,. \zor1/ G , -rl

The cl-rent's

way.

--

Ii mi tod *--.,-

r.' ,Jay.

It's

easier,

tr .viF 5 lL 3 /y!!J

Blue Production

Draft

"The Wheel" 8/73/07

?o

Ogilvy
ir

JOE drdn't have a problem wrth

DON ( re: projector ) WelI th:s, qutte honestly, this rs a wonderful product. There's no exaggeraElon necessary. It doesn't
ie m ir ' q r ip l i erhtfrrl l rr mochani cr"l
r a r svr r u r r f vq !.

ft's a marvelous machrne. to be better than the last betler than the rest.

Designed one and

JOE ( smrl-es ) We tend to asree. ( then ) So, have you f:_gured out how to work "The Wheel" rnto rt? LYNN We know rt's hard, because wheels aren'c reaily seen as excl_tlng rechnology even though rhey are the orrqrnai. DON Technology :s a glittering Iure, but there is the rare occasron when
r . he oubi' c Can be e-r oarrori on a

]eve] beyond :Iash. If they have a sent:-mental bond with the product, job I was rn-house for a My f:rst fur company workrng with an old pro copy wrrter. A Greek named Teddy. He sard the most rmportant idea rn is "new." advertrsrng IL creates an rtch. You simply put your
nraArraf presu!u irtl +llo-^ rllgtg aJ o f ihl ^a L)I

calamrne lotion. But he also talked about a deeper bcnd ro a product. Nosralgra. Ir ,s deI:_care bur ootent. SaI, do you mrnd? Salvatcre turns off the lrghts. Don turns on the projector, talks JVer t-ts wh:r. As he speaks, he flrps slowly through the sl:-des. They rnclude hrm asleep on the couch Chrrsrmas mornrng wrrh the krds. He and Becty wrth a newborn, SaIIy on h:s shoulders, etc. They are snapshots ln lumrnous cclcr.

^11tLl

EP#S113/P113

BIue Production

Draft

"The WheeL" 8/13/0-l

AA

DON (CONT'D) Teddy rold me rhat - n Greek, nostaglra means lrterally, "the parn from an old wound." It's a twinge in your heart, iar more powerful than memory alone. Thrs
ic f J nat llvu : q qnrcoqhrn ryqvEDrr*t | rtfc _w r r u J-imo ultr.u

machrne. forwards '\

/r or r or qoq

It

goes backwards and

f ha ql i r i oc \

And it takes us to acire to qo asa'n.

or z er r - nm e wl- t h emotl-on

a place

where we
f I liy n
_

Ha rr v

i s

as

the

ni r:irrres

h tJ.v -

other

two men are t.ransfixed

on the

screen.

-- rh r Le

DON (CONT,D) ft's not called It's "The Wheel. " called "The Carousel-. 'r ( beat ) It lets us travel the way a child travel-s. Around and around and back home agarn. A place where we know we are loved. The last
rio,=7-inat r eq! !rry

slide
ttnuy | H^rfv !ra!

is
! r

Don and Betty

i-:koq eG^uJ n=f ht^ .r!)

kissing
u -l-^^^^ IGJ>E> ,

on New Year's
--lh-q wtpgo htq 1-_p orroc Erv sD

1955.
, nrric L5 pu

Salvatore looks over at hrm. 'uhem back on. Don flips :_t to the slrde. There rs a carnrval canooy above the producr. Below it reads "Kodak presents The Carousel_." Don clicks another slrde. It's he and Betty with a newborn. Don leaves the slrde on, then turns off the projector. dark. It,s
Ha f-fV nOW fD hl".a I I V - - ,,r yr - r r = -- t * ^^- ^^'^r .F ho
. -1 l g

n^

^^- ^ h6^D Ig

rrn

:nd

ae\z ae

the
n a -l -r -

room.
nn

Salvatore
II

Looks at him sn:-ff1rng.

^^ns ^n Il aJ =L l\VgAA
!gVl

Don savs
l ook at eac h

other,

then

at

Don. DUCK at your next meeting. (DAy 4) br:efcase, drink 32 on his

Good luck 32

rNT. STERLTNG COOPER - DON'S OF'F]CE Don rs:n his orfrce, pack-ng desk. There is a buzz.
P EGGY
/tn i ntor ^nm \

up hrs

Mr, Before

Phillrps

rs here to

see you. Duck enters.

Don answers / the

door opens.

Ep#s1r3/pL13

Blue production

Draft

"The wheer"

B/13/01
.+ U A .

DUCK
DO n/
:lnno

har z e

fn

r^rrrn

\r^rr

I,m

nOt

EP#S113/P113

Bl-ue Production

Draf t

',The Wheel" g / L3 / 01

4r.

He enters

with ft

Pete,

Salvatore,

Ken:nd

D ar r 'l

* * *

SALVATORE was beautrful.

PAUL Congratulations,

Mein Kommandant.
'i ai-'l-." LvppI. moolq nnt i nac irrcf se
J e u

DUCK They called from the cancelled their other rncluding DDB. That, vi ctory for us, it, s ctvritzatron. Don gives a rrttle smile. pete

*
m]-^.. trrEy

rri ntnrrr

fnr

and Ken go to

fix

drinks.

S AT ,\/Ar l 1'PF ' i' tn:qtinn\

God bless

us,

every

one. *

DUCK We also have more celebrar_ing. Mr. your father-in-Iaw Canpbell, here. called. He,lI be rn before
vlt! ^L-.i !D ^+--^ Lr[d.b .

I've Fete offers

KEN got to get married.

Duck a glass. DUCK No thank you. I,m good. rarses his glass to Don * * *

Duck passes it

to

Do:r.

pete

DON You know what pete? for you to turn this homerun. PAUL
FJof q nn r ra'l l

I've got a way account into a

DON rl-'^ L..,',^ +L -! Clearasil-. You know twrlv !uy5 LtrdLi Young g:-rls. irWhat a difforonno makes in t--herr Iives to be bl emi shfree. I believe PETE it does.

EP#S113/P113

BIue produetion

Draft

"The WheeI" 8/13/01 414.

DON We happen to have the perfect peqqy Olsen. writer for this.

Ep#S1L3/PII3

BIue Production

Draft

"The WheeI" 8/L3/07 42.

The other

men look That's

at

each other,

Pete laughs'

PETE funnY.

DON You don't think she's uP to it? FreddY Rumsen and I have both been impressed with her lnsight. PE TE FreddY Rumsen. If
\l^

KEN r can weigh in-PETE

V-rr -^n t t

KEN Come on, that Belle Jolie thing? Plus, You should have seen her rn She was lrke the bocth YesterdaY. KinseY, onIY she cared. PETE ( shruggrng rt off ) StoP joking alreadY, will DON Excuse me? Paul shoots Ken a look.

You Don?

PETE He's Thiq is mv father-In-Iaw. I'm expectrng the verY besr, lilot some expectrng the very best ' grrl. He'II walk away. Irttle DON have to give You'II of Ayn Rand. back that coPY

PETE T)- v-rl know how hard I worked to

. ' r ot - t his
:v "

ac eo u n t ?

Who the
r s :D

DUCK hell rs she? PETE

a d^htt rtr i : aY

)Fat-tv tvlj:

n1-)::v

o\t6n

she's

a secretarY.

EP#s113/P173

Brue production

Draft

,'The wheel,' B/13/07 43.

D ON
Donar r - "aaJ .I

Peggy opens the

door,

enters.

DON (CONT'D) Miss Olsen, you are now a junior your first copy writer. account wiII be delivering Clearasil to the spotted masses. Pete shakes his What? Don,t act PAUL surprised. head. He can,t PEGGY believe this.

* *

Peggy l-ooks around.

nF n^r t

Is

rh'

r e_*_rJ a l I rr

h:nnon r-ut/t/ErrrirY

i n^? j

yes,

DON it is.

PE G GY My g o o d n e s s .
NN !vl\ IT *

( smrles ) Welcome aboard.

Sh e c ak es a qh alr oq i t_ haif s eo - tey tev ow au r! ciq w -o r '^ L Un I] / n* -ra vr -s o le r -e ,^ n fhand. Hg

* *

I wrll

PEGGY do my sincere

best.

DON Good to hear. Mr. Campbell will brief you after the holrday. Pete warks out right past
PEGG Y v _ ^F ^. - J Uf Se.

her.

peggy stands

there

awkwardry.

DON
Th:tIII ]- r o :' l l

Thank
- - - \4..r l

v or r .
J v g,

PiG G Y Mr Tfr:nar
!! ql/.!!

EP#S113/P113

BIue Production

Draft

"The Wheei" I/73/A7 4 3A.

She walks

out.

Trp#e11?

L JI

/Dl' 1
L LLJ

Blue Production

Draft

"The Wheel-" I/13/01 44.

DUCK
r-s a Lrt/^ b e f f r mn
e

s srrLD

,rh-ni u I t ! d,ltt!

I I tr I..J- a

r^riffr

il.ro

charn

of

command.

.1- n

l-ro

r
"

l rin p-a

ehnl -

Duck stares

at Ken.
K EN (C ON T' D )
F{ :nnr z fFh:nlr qai

'-*rrr

=*'1 n 9 .

rz

DUCK You too. DON Happy Thanksgivrng. PAUL See you Monday.
'j nav

all

start

to

leave.

Dcn looks

i+

at hrs

briefcase,

closes

rNT. STERLTNG COOPER - BULLPEN _ LATER (DAy 4) JOAN leads Peggy chrough -,he bullpen.
JOAN
t/ ir r ct T
Paaarr '*::i nnrlq

33
a box

?eggy carrres

n h orl ri

nn\
- - Ji tJ,

sa ir i

r -ro vv t Yn ! - r a t.r'r'l ari nne

di dn,t
uaglr

r?
I;

J O A N (C ON T' D )
Althor toh-

what rhey 'dant rhey realrze how Irmrted their goals were. ( then ) So I guess f can put you :n with Vrctor Manny. David Steuben was

Jvrrre

qr r r n F i i m eq u_rLLU-

r ,r w r r hon sl r

y=v!!9

noani o

ar i
uc

^1/ --^

r rre d i JOAN
Ponnlo h:tod hi c rw ,r nr l z n . V!

PE GGY r.\h
/ i- h o n
T^I;'l vY!!I l T I

\
jnoqq ]-r'^ UL,.:_L.r_*J nrrdc? vq!uo;

ryatqg L

EP#S113/P113

Fl

tr a

Pr4 nr lr r aJ - L-l.. i .rrr v s uu ^n

Draft,,The

Wh e e l , ,

B/13/07

4 4A.
JOAN
/ emtr qor l \

* of
J v ur ts v uc b L5 )k

Please make all

J-hrnrrah D>i .l-^+ !r 4qys L .

* *

ptrr:r:v
C) f nnr r r qo

JOAN peggy. I know you a 1ittle. Remember, just because you now have a door, dgl,t- forget thit once you drdn,t. Think of the orher giris, or they won,t think of you. Joan and at a door with !"SSy arrive and "David Steuben,' on the door. the names "Victor Manny',

* * *

Remember rj;T
memos go on the stack? Joan opens the door.

Jj.tJiSJ rhar some

bottom of the

EP#S113/P113

Blue Production

Draft

"The WheeI" E/13/07

34

INT.

(DAy 4) OFFICE - CONTINUOUS JUNTORCOPY WRTTER',S

34 * * ,k

contains two desks i n the center of the The small offrce room, facrng each other. VfCTOR MANNY, 30's, srts at one of the desks, dorng a crossword. On hi-s desk is a portable case open. He looks up at them. typewrrter, JOAN Vrc }4annyr I'd l-rke you to meet Peggy Ol-sen. She'Il be taking Mr. Steuben's desk. VICTOR Nice to meet You. Davj-d and I had a deal-. No meetings rn here, okay? And no music. Viccor
f\/n Ar .r r r ior

* * * )t * * on his
qhnnfi nn n:i n

puts

the
?anstr

crossword
nr im an oc

aside,
1- r r r i na

starts
fn

typing
hi r i o:

-"::jIVLJ_..Yg.:lYtlu::I

rn her abdomen.

)='.rr i.'=|"'Sit5i r ao,l .

P ro b a b l y JOAN rh e begrnnrng of an ul cer.

PE GGY

PE GGY N o , I th i n k go home. I I shoul d h a v e to s Eo p eatrng cff rhe cart. JO.qN

!!

is

r r 111' r o ! u
_vuu

tr ir ? g u rr Jr -r

no

rn
-v

::ttu

ii

nd

e q

t^l :r z wqJ

tn Lv

go out and :elebrate, you should ask your secretary to cover for you. VICTOR Very funny. JOAN Happy Thanksgivrng. You too, PEGGY Joan. puts the box on the vacant desk,

Joan leaves. Peggy winces, rakes her coat and purse.

PEGGY ( CONT',D ) Nice to meet you, Vrctor. on Monday.

See you

Fp#q1r ?/ Dr 1?

Rl

rre

Pr adr r a+.1

^n o,-.,

D raft

" T h eW h e e f "t r r l( ? ,

P e ocr r
- J:j

- l lr c rYYg^r : Jre

nr r lv s u.

EP#S1 T3/PII3

Blue Production

Draft

"The WheeI', B/13/07 46.

35

INT.

HOSP]TAL - EMERGENCY ROOM_ (DA Y 4 )

3s

Peggy sits on the edgre of a bed / LruLul n l rr+^l-' trng i ]^^ner stomach i n -parn. DR. OLfVER, 4A' s , enters fol fow ed by a nurse, JA N E T, ?n DR. OLI\TER What can we do for you today? PEGGY (unable to breathe) My stomach hurts really bad. think f had a bad sandwich. Let,s take DR. OLIVER. a look.
qt:r i c sf nm r nh f:l ei ne sJ\r a r Y
l l EI

Janet sticks a thermometer in her mouth, pulse. Dr. Oliver starts palpating her PEGGY Oh my god. The thermom.eter drops fioor. out of

l - ,o-

her mouth and shatt.ers

on the

Honey,

D R . OLIV E R goi ng to | o u ' re PE G GY

be

a mother.

W h a t? JANET D o y o u w a n t u s to husband? ( d e l i c a re l y ) Or y o u r b o y frrend? P EGGY y o u tal ki ng s h a re

cal l

vol rr

Wh a t Dr . Oliver and

a re Janet

about?

a l ook.

DR. OLIVER Now listen. We,re going to up to malerntty. No. Peggy st.arts to over ln patn. That,s PEGGY not possible.

get you * * She doubles

t(

get up.

Grabbrng her thlngs.

ED#q]1?

l J/

/Dl
L

LLJ

l?

Blue Production

Draft

"The Wheel"

8/73/07
i cA

PF _L -t -V

( breathless
Oh mrr anr i yvs. Tt e r

;
hr rrt l l u! c. LD

* * Iooks in
hor or z oq

The nurse holds

her as the

doctor

EP#s113/p113

Blue production

Draft

"?he wheel_', B/13/07 41 .

DR. OLTIIER gorng to be okay honey. ft's want you to calm down. Janet helps Peggy up. I don't PEGGY understand.

JANET ( yells ) We need a wheelchair! An orderly down. brings a wheercharr to the door. Janet s:-ts her

PEGGY (wl-nces ) Oh my god. f don't it's rmpossible.

understand,

JANET (to orderly) Take her to maternity. Tell she's two mrnutes apart. As the orderly wheels peggy away.

them

DR. OLT!'ER (to Janet) I want you to caII Dr. Wilson psychrarrrc consul-t. 36 OMITTED

for

36

T ip # q ]1 ? /Dr 1 ?

F' 1 r ro

D r4^.l r r c f
Vse v

e {u l l

^-

Draft

"The Wheel" g/J.3/01 48.

31

_ LTVTNG ROOMrNT. PETE'S APARTMENT Trudy, Tom and Jeannie are lookrng q the waII. Pete enters. H o, r l r tr nl r
PE TE
nh
!rE!JU d ,l - J_ .

( Nr cHr 4 )
the paint salnples on

31
,k

at

* *

HeIIo,

TRUDY darling. * * * * * * *
a hr-nor p! gpg!

Trudy goes ro krss him, he does, somewhat glancingly. She Iooks at him. She can smell hrs breath and he,s weaving a
I I ULIE .

Oh , n ffi

TR U D Y (C ON T' D) ( c o v e rrn g ) w e re th ey havi ng a n:r i r r ce? FE TE

rf

fl r o

VFq colol-rr:ii^-

thoro urre! g urvtl

wa> '.'--: .

TOM J u s t to b e cl ear, we .r-n . We w e re supposed s o me b ri d g e i n at the b u t a p p a re n tl y, w e' ve c o l -o r f o r rhe w al -I. P E TE Ith i n k l s h oul d

.li.{ vls fn

,lF^h q! rlv r vll -^f qarroozo

el

flofzinnorfq

n i c Ler i

* * * *

Oh .

Ire

down

JEANN]E ( sweet ) T h a t' s a g o o d rdea. TOM

Qttro rocl1rh

l Vi :k o

qr r ro gls

\r ^r r
l vu

fr ^

!g

awake

I a te r.

* *

TRUDY ( a n g ry ) Daddy ! P et e s m rl e s p o l rte l y ,

h r s coat and dropprnq it e mbarrassed reactions .

then

w al ks

o n rh e rlo o r: b e h in d -; ; ; . " -lj" " ii. " i,

to

the

bedroom_

taki na

nff

Ep#c l1?/ D] 1?

Bfue Production

Draft

"The Wheel_" B/13/0i

AO

38

INT.

HOSPTTAL- WOMEN,S WARD_ (NrcHT 4)

38

Peggy lres in her hospi-ta} bed, rooking a rit.tte drugged, bur unabre to sleep. NURSEwrLSoN, late 40's, enters, wiixs over peggy stares at to Peggy wrth a swaddred baby rn her arms. her. NURSE WILSON Would you lrke to try to feed him or we can grve h:-m more formula? Peggy says nothing. NURSEWILSON (CONT'D) Don't you want to hold hrm, sweetheart ?
Paocrr ! eYYJ trrrnc uu!!rr hor'l-'a=.1rrsau rls! awc1y.

The nurse

stands

then wal.ks ou*'. 39 4A OI,iITTED rNT. TRAIN (NrcHT 4)

there

a moment,

39 4A

Don s i i s o n a c ro w d e d t rai n. N ext to hi m, a passenger hords a g -ft basket o f o ra n g e s, peat-s and appl es w rl pped i n goIC c ello p h a n e w i rh a r:b b o n . l _L,s l -oud, smoky and- boi sr" i ous . Don s mo k e s .

47

r NT.

D R AP ER H OME -

VE STTB U LE /FR ON T H A IL

(N rcH T

4) and the

4I

Don e n te rs , p u ts i n fro n t hor d s i t

front h :ll q i- n - - - PS

his of
.

b ri efcase dow n, takes hi s hat off h rm i n hi s hands as he steps rnto

D ON Hello ?
RT ITTV /N C \

Don? Don puts krtchen. 42 his hat on the banister, forlows her voi-ce into the

rNT . DRAPERHOME - KITCHEN/DEN - CONTTNUOUS - (NrcHT 4)

42

Don walks in. Betty rs in the krtchen with suitcases. She f rll-s a net bag wrth produce. SALLY and ROBERTare already rn their coats watchi_ng TV rn the den.

EP#S113/P113

Blue Producti-on

Draft

"The Wheel" 8/13/01 4 9A.

DON
HEIIO.

BETTY What are you doing

here? * us?

SALLY Dacidy, are you coming wrth rr^ t\u,

ltg he's -

BETTY not. ttvu. uauuDaddv has to work.

Don) c a n d ri ve I h aven' t us to the cal -l -ed a taxr

(to But you s ta t.l o n ,

* *

He w a l k s

over

to

Be tty

and

l ooks

at

her.

I' m S he l c o k s at

c o mrn g him,

DON v r:-th you, but not angry.

c o n fu s ed, B ETTY Yo u are? D ON

R e a IJ -y ?

voq

r ^r ant

r-

T 'l '

n:r k

tho

(looks at hrs watch) We'II get there before mrdnighr. Don leans in and krsses strokes the back oj h-s
Daddy's T he
f :no

* *

her. head.

smiles, She seems surprised, Don goes over to the krds.

D O ]' t (C ON T' ,D ) you. c o mi n g w rth h o n i -l zq t\em

Forir: 'l nnirq rn eLL

k r c l s -.1 tjmn 1 ,n "Yl

'notr.roon rhom ur r l r 'Lr

bOth
I

up.

A S he bU rf eS hi S

amai'an:l

EP#S113/P113

Blue Production

Draft

"The WheeI" B/1-3/07

<n

rN'r

nt r iDF- Q

HO I , { E :T t he

- FRONTHALL (rircHT 4) foor oj rhe s:eps, exa:t1y as berore, hat

43

D.-:r . t - . nr iq

r-n his

hands.
DON H e l -]o ? (a l o n g b e at) H e ffo .

over to che stai rcasef H e w ai ks hat no one hone. T her e ' s l l e pul } d o w n o n the steps. back through t1,., hand a n C s rrs h rm al on? o' t the steps l c a v tn i rn the dark rro rc o m , d: n; ng em pt y h c u s e . FADE OUT E}ID OF SHOI'i