MEN

I-J&ffi
TheWheel
Ep .# S l l3 / P 1 1 3

Wrinenby
MatthewWeiner& RobinVeith
Directedby
MatthewWeiner

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

2,2007
Arrgust
AugustI ,2001
A u g u s1
t 3,2007

C o p y r i g h t2 0 0 TL io tr sCa te T e le visr o nln c. All ri ghi s rcscrved N o porti on of thi s scri ptmal be pcrformed,publ i shed,
s o l d or d istr :b u te db 1 '.r n vr n e a n s,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
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 onsset forth above.

CAST
E p.#SI 1 3 / P 1 3BiueDraft
Augusr13,200'7
SER]ESREGULARS
PETECA MP B E LL
COSGROVE
KENNETI_I
HAR OLDCRA NE
BETTYDRAPER
D ONA LDDRA P E R
JO ANHOLLOWA Y
PAUL KJNSEY
PEGGYOLSON
SALVATOREROM,{NO
G U ES TCA S T
G LEN B IS HOP
C OO PE R
DUCK
ROBERTDRAPER
SALLY DR-APER
FRANCINE
TR U DY
JEANNIEVOGEL
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 (USEDTO BE VICTORSTEUBEN)
L YN N TA Y LOR
N U R SEWILS ON
(OI\4ITTED_SECRETARY)

OFFSCREEN
O PERA TOR

E p,# S11 3 / PI 1 3B lu eDra f t

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
BzuGHTONHOTEL_ TIN4ESSQUARE
LOB B Y(N3)
D R .WA Y NE 'SOFFICE(N3,D4)
DRAPERHOME
(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
PETE'SAPARTMENT
(N2)(OMITT E DN4 )
B E DROOM
(N I, N1)( A DDE DN4 )
LIV INCROON4
OFFICE
COOP E R
STERLINC
B ULLP E N(N3,D4)
coNFE nE NCEROOM(D2 ,D4 )
cooP E R's OFFICE(D2)
DON'SOFFICE(D3,N3. D4 )
E LE \/A TORLOB B Y(D2)
B OOTH(D2 ,D3 )
E NGINE E R'S
HA RRY 'SOFFICE(NI )
JUNIORCOP YWRITE R' SO F F I CE(D4 )
S TUDIO(D3 )
RE CORDING
TRArN(N1)(ApDED)
OM IT TE D
WAGON(N1)
BETTY',S
ou r srDE cooP E R's OFFICE(D2 )

EXTERIORS
BANK PARKINGLOT (D4)

FADE TN:

rNT. PETE',S APARTMEN T- LTVTNG ROOM-

(NTGHT 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

me

someone would have told

+L
Ltla -+ u .
/ t-h

e 1 1 4 r .r L g

or

i nlre

chanco

\
/

course
nf

it's

really

hcina

r i ahl -

a fifty-frfty

TOM
T,' ' n

nnlnc

hoc:r r qo

in
T

fr c ai -

f ool

vcrn

i h:t

Ii k e

r ^r :r r

r hnr r i

SO n
\/- r 'l

PE TE
/r r nnnmf

n r r - :l - r l

o \

Okay.
TOM
,rn

f Of

oet

:l

honoc
r ]'
r g-JtJJf

l rr

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

na

-r
YL Lt)

w rs h

she

hadn' t.
TOM

Nlnr
l \ V W, ^r

qha

!IV Vnr
g J z oq

Dllg

r r ar r

nAnr
Il U i

JVU r

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

a- m n:n\/

\/^1r

l - r nr r c hi ?

1
*
*

Blue production

EP#S113/pI13

Draft

"The Wheel_,' B/13/07

2.

TOM
( smrles )
It

was

k r nd

a b o u t.
Sur ge

of

wo-rh

hr:nni

in

ado l e s . - F n c p

ri aht

eeenbuila'ns iJi";;"-i;;;
\/F:

nn

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

n^w?

;;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+

. Fr ' . . l.'

tne women walk

+L ^ -

+L ^

a *^ *J ^

L^

o u q r lq D

over.

Jeannie

sits

T o m.

- ch tn d

T RU D Y
Ab o u t

Tom,

w h a t?

loose

JEANNTE
l i_ps si nk

shrps.

T'',\M

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

T+

1u

!D

Daddy?

TOM
know.
Feople

say it.

JEANNTE
(wrstf uI )
+ - ,- ^

Ltt-lg.

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

TJ-

m o:nq

It,s

noYt

l-^

n^-

EP#S113/P113

Blue Production

Draft

"The Wheel" 8/73/07

3.

TRUDY
l- l:r ir iv-

\/nr ' r ' r o

-f

om 'n:r r :qqi

nd

"u

r3rJ.c

TOM
(pornts to Jeannre)
ft woul-d be the best Chri-stmas
present rhrs one ever had.
HeiI,
l' hani.cci

rri

t q

nn

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!

y
.l

+l^;
t!!!rry -^

r l

l^-..^
rlqvE

+^
L-qJ

Ll
.l^
1llgg

qL
^+

.^
-wut -t^.

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

BETTY
take Sallv

rAn.l
utq

IL!yi Irahf u-c .

for
nh
vll

drawer.

Marv
...1
ql
lu

i4

dr rqc
aqq
nJ
Y

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

T' m

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
)

She puIls

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

don't

"I

Thankq.l
rlrurrr\rYrwrrr:r
i mnnrf

"The wheel"

Draft

BIue Production

EP#S113/P113

fT

.tllno

ant

*rrocc
Ysvps

r.7a

8/L3/07

4.

at

rrofgnt!

'l

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

war r

+^

LU

I'm sorry/
that?

Don tu rn s

r NT .

DON
was I unclear

f don't

BETTY
understand

*-i.^
lltdj\c

f .hi'1
i ellL:

of f

*.r
ltLy

j rrs

i rg h t.

S T ER L T N G C OOP ER -

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

You

^^
Yv.

!Y

about

whY You can't

q! r
J v

f :mr'l
! @rr!

tsetty

rr rr .

ci oes the

H A R R Y ' ,S OFFTC E -

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

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 ^-^

(MORE
)

H e has

nannv

,-*Yi.J

to

sdl rr-

(N TGH T r)

new gl asses,

haV g me

3
Ii stens

to

EP#S113/Pl13

BLue Froduction

Draft

"The Wheel" 8/13/01

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.

5.

He's

rs sl-ttrng

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

mv wel I

aborrt.
,vv

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

hr
nnq
llqlluD

ruu
rn

and takes
:
q

vnillillnr
v w ,r :nr l

the

and continues

to

1 - c r a r p tte

.n + ^

irVrnar

a sh

INT.

th e

of f ice

T 1 .1 a r p t

IJ
:r r \z
Ir a!r

AIg

smoke.
+ il 6

,.uP

- - -l luD
- ! Ld.l
>

)/

over with
l - i nn

llllEo

Wa l L It.u ,

He Iays
arrl -.=-o

w i n d o w s.

co m fo r r :ir le .

OMITTED

che el-evato:

+L
w l ul l
'.'i

hi c
--*-

h:-m to the
t:l
oe
u a r^ g
D

nff
V:

down on his

na-I-

The
qti 'l

:n wrnter

-':f

n:r otf

couch,

where

alr q:qqoq
e
vJU J

couch and flicks

Whl S tl eS

b' i anket

I/g:3'

.;.taro1-Tc
v_ Ys_

r-i

hr c

w j nd

H e nrr' l I s the

STERLTNGCOOPER* ELE\TATORLOBBY -

A crowd ex;rs

nhnno
lJllvr r E.

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

Grlq

t hr o rro h

iho
ulr E

on hi msel f

hand.

(DAy 2)

atlrre.

5*

EP#S113/P113

rNT.

Blue Production

Draft

"?he Wheel', B/13/07

STERLING COOPER- COOPER'SOFFICE _ (DAy 2)

COOPERhas bound books of telerype

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

research

on his

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.
h-n
^\-\r\rr
nn
-Ln

( 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

DON
hearci rhat.

I nadn't
/ th e n

Bu t

surprise.

o th e rw rs e ?
C OOP E R
1; rrt

r :r o r i',

There rs no otherv/rse.
m ^n

Why is

mo?
- :llinn

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
Da11-

nFr

r in

nnr u

av
no.r
e^y
c ee

personai preferences
wlth our business.
DON
T^1L^

w n o s^-r,ays

+L^,,

rn e y

nave?

v nr r r
JUU!

ro rnterfere

thi_s

desk,

EP#S113/Pl13

L L/\-i5:

I
l\r ^^lUI!5^

l^,.^
\JUWII,

"The Wheel"

7.

8/13/07

t1

tone

f r was the
her father.
n nor
lt-n
vvvs-

Draft

Blue Producti-on

irls voice.

of

art uDe
^- LaI
D

f I i nni
- +l v Pl tl Y

nn

He ' s

thr
nh l
ur rnr
!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.

DRAPERHOME- KITCHEN r n

R o i t\/

^ Om p s

w,rh

squash.

or r rz e s -

r NT .
B et ty

ouL.

h Ol

She puts

goes

to

nrzor

on the

rt

F R O N T H A IL
door

th e

j .i orl

h:'l

. rg l -I / g I / U .

counter,

naner

bao

f l i i gj

takes

off

her

ri nrrq -

T h e d o o rb e l -I

D R A PE R H O ME -

in

d. nO

(DAy 2)

and

(D A Y 2)

opens

rt.

BETTY
Franc]-ne.
I'R ANCINE barges

rn wearing

S l - n n p r s.

kn i

anj

a coaE over
'Jor

\- *

nnqo

anj

her nightgown,
eveq

erc

rcd.

FRANCTNE
f n.
f ' m f reezrng.

f ' m c o mi n g

B ETTY
/
Vntr

^l

t ro

oc

i na

i n

tho

r r nr r r

dnnr
q'l

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

W h a t' s

BE TTY
g o rn g on?

F r a n c rn e
ta k e s
fo i i o w s .
; er t v

r NT.

o ff

D R A PE R H OME -

Francine

heads

to

^no

her

r .r ar r " l r l

hat.

qao

S he heads

L T V TN G R OOM th e

cou3h.

ma

to

the

l i vrng

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

room.

EP#S113/P113

"The Wheel" 8/13/41

Draft

Blue Production

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

Franclne

ol-rrnlA
DLUIIUr

DU
-^

T,m
.|t

cn
)V

rl:mn
uollul

down/ smacking herself

sits

cfrrnirl
DLqvls.

in

the

head.

BETTY
(sits next to her)
Whatever
You're not Francine.
h:nnanOj
rrq!vsllsqt

\/ajtt
.fvu

:ro
OIE

nirrn:
DLUUI9T

n^lrlUL

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.
BETTY
understand.

I don't
Thev

oi
\/e
:-'._

close
rl

to

ihoeo

FRANCTNE
m
'"". r h e h . l ] .
18 dollars.
c:

I'1 e

f t

was

There were

T .nnn

rii

qi r nna

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,

MH.

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.

Blue Productron

EP#S113/Pl13

Draft

"The Wheel" 8/13/01

9.

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

troi-J-rz

Lvql

qtrrrq

Dg.

nn

Fr:nni

no

nr:frq

hor

arm

FRANCTNE
\Tn
!rv'!Yv.

Rettv

s i ts -

rian,i

n
u ts
F*"

d^

her

h a nd

over

BETTY
Marr.ied women, lots
lnqr .r or

tha

ir

nr .r n

Franci ne' S .

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

*L^

p
qgn - ^^^l

Lllg

fr
onl
!1 v.i

lhor
r c! -

* :k a5
/

9po.

* s^ u .

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.
' r^ ;
6
1 n rn..r t- haV e a hOU S e fU i I
rT ' m
1r
YvrrrY
of

n a ^ ^ lo

ilI

I
-*
Mv

r .*r s n a r p n tc
'--"
1;;.ii.,,'-'

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

them

aI].

Mw k rd s .

"J

BETTY
Qinn

i i

( 1- nn

r 'n:t-

;r :n- r

na

her coat

EP#s113/P113

Blue productron

Draft',The

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

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

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

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,
i-,.h -p

a n t s-ir .rn rn e
-y

except...

leans

in

V f

lz

S fmpl e

and hugrs her.

Francine

t- i dh+

BETTY
you're
You're so strong.
strongest
person f know.
me. That took a lor,
It

d rd .

It

FRANCTNE
w as reaJl- - vJ

Put!

holds

the
you tcld

har-rJ

so embarrassed,
rrl sJ

know you know.

FR\NCINE
f know that.

Yes.
Betty

c oc
occIIl

he doesn,t

f,m

d.wdy.

I don't
time?

BETTY
know. Maybe take

some

cn very

verl,/

F:Pg\t|

</pt

| <

pr^d)l^l!^n

Htlla

"'t,ho

l)r=tr

t^l n66t"

t/

| <ttt

11.
F RA N C IN E
Yoth.v 94.'YV4I.Y

itte

n^i-

anyrhing
We hear

r he

k it r - - hpn

t-hrorroh

th e

h n ttq e

should

\la
!r v

think

. ioo r
f o

in
- ^r nd

to

rho

hr r r t

abour l-t.

nntrn

and

r - l n s o t-

rrnci
-r
uvruqr!e/

r rq

ni
anl
y!yyrrrty,

kj !:ui r r i q

t!:r- ,vh c
i na

vqL

^rri

rue
vq a
r r :rrJi
nf
v!

n^r

i ahr
DryrrL.

FRANCINE (CONT'D)
go.
BETTY

F re n r.i

ne

r r pi

/ I

dnn

r*r nY.

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

f ,m lace .

BETTY
you can go, Carla,

okay.

CARLA
You want me to unpack the
nrn^9;jg5 l
BETTY
do that.
Just

I'lI
i-:rr
u
a !ra

io
rna.
- r r D/

and
dll(
)

- u- 115

her th rn g s .
door.

Be tty

W
W d.L.t1ti
al_kS

s ra y s

go.

b aC
D
a CKk

w here

- ,-a- *\F\ il !
kJ .-- r - r - h e n r_ 6
y _*

tLO
o 1W^afQ
l a 1 . d rtne
he

she

l s,

C arl a

starts

out

the

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

Se e v o u
Car l-a
rhl

e x rts .

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

s he

Be tty

n ' 1 a r r i h .i
tr-"J-"Y

Sh e

re a p p e a rs

s ta nds

r ln q r ^ th e

-nens

h o l d :,n g

there,

rq
donr4 Jv_

cal m.

<ne
|

S he hears

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

a n envel ope

rn

her

oht
tO
A frer
x_
Lu_

hand.

the
q

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

ED- # C1 1 ? ,/p 1

10

BIue Production

1?

Draft

"The Wheel"

8/13/07
12.

(DAY 2
rNT, DRAPERHOME- KTTCHEN- CONTTNUOUS

10

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

ROOMrNT. STERLTNGCOOPER- CONFERENCE

(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

DUCK
Cosgrove,

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

(re:
,r D6ir lr r on:l
r\eJsw

behrnci

PaPer)
r ' ,r - 'l

flY'

l-ist.
right?
the

The

*
*
*

"?he WheeI" 8l13/01

Draft

BIue Production

EP#S113/P113

IJ .

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

The others

Relax-a-

picked

being

hin

DUCK
What the hell is

the

on.

it?

PAUL
t e

Tf

r .r oi

at

nqq

pleasure

female
Duck }ocks

nht- l

r i or r r

ro

r ^r i th

payload.

Don, amused.
DUCK

RealIy?
Don nods.
D.I]'T {

/- vNv l lN
T 'N \
3
\

i':n=

qari

i n

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.
of mrmeographs to be passed down.

Duck hands a srack

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

.nr
!v!

i |
u

+l-,^
LlIc

E uqt:ri

^acroJ.
Jg!!

!a!:

nnn'1
pvu!

/tlron\
T
f

r.--h+
wallL

wuu

Start
Cn

ytlh
tull

LU

wrth

i nra
!tlL9

nontr]
pEvurc.

some ]ow-hangrng

f hr nr r ah

nl

ri

frutt.

r r o:r nnnl r c

DON
rT'^ ^!tiaL

ma ^n^
lltqqltD

tn n

Fri

key to
and

a'rryrrhnrlrr
cvqlrvu9uv.

nai

your

v o' r r

fo r

ir'iri
vl!lugr) t

i n

salary,

louF

orc

fS

bU S fneS S

the

status,

s el+ - w O f t h .

I went to
m n r n in a

nd

DUCK
the Athletic

:n .l

an hour

c :f,

;i -p

thg

and a hal f.
(M OR E)

CIub thrs
S team

fOOm

F D # s 1 1 ? /p ]

13

BIu e

P roducti on

" The

D raft

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
q
JMsl ido

nF\.7

nrnio-t^r
v!v-t
su

Td
rf

LU!

=nrr
qrry

nF
vr

Thank you.

sink:-ng :-n?

rhis

The fellahs
look at each other,
Duck looks at the door.
gerting
Pete walks by.
start
up and walking our.
DUCK (CONT',D)
Don here tells

Campbell.
Don }ooks

at

me things

yOU.

-l^^,,+
d
IJ( Ju t

Pete,

not

Pete l-s wary.

smrling.

PETE
L;ke

what?

f l3l

v nr r r

DUCK

a m i '1 v
-l-rorr

Cn

i s

rha

nart

rh:

hrrchoc

-1r1r

)ore

nndS

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

^,r+ t
Uu

DON
Kodak, huh? It's
' n' .r

T' h

shot

cl1- o

not

t^'hOeVer

at therr

1-)on
UVll

pD
ql .

ctanci
D LalluDs

an aarlrne/
- .t

cY'ptS
"p

haS

busrness.

frlm

DUCK
/
^^J\ irvuD

\
J

We saw them at Y&R, I'm

rhey're
stil-l - lookrng,
f hom
9 ]r 9 l |.

Llllb
-L.

hor o

j l v!

They're
^^*

12

hut

rt

rJI--+
YYIIAL

-,^^lWUEA'

taking

*- t - ^ , . ^

wiII
/

^
D

haVe

I
!E-^;r

three

surprlsed
I can get

V!
-.t

to

be

. +
-L.

meetings.

F^ ,,-

m L^. ,
t llEY

L^-J
llEqu

] NT.

S T ER L ]N G C OOP ER -

u^ ,u.u+.

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.

tt .

ANNIE
( reads )
T love the wav it

feeL
(MORE
)

makes me

EP#S1131P113

BIue Production

Draft

"The Wheel" B/13/07

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

1/+f|.

Draft

Bl-ue Production

EP#S113/P113

"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

i +

th o r r o l .t

w orrl

t.ct

ci hannen

ine, but I regarned my youth and my

Just ask my husband.
f
happiness.
qr ^r o: r -

rrv

n. nht

tu rn s

et

me

like

the

w e m e t. "
P EGGY
Todd)

(ro
'l'ooo i
T odd

' l onk s

ho

J v v es !,

mo ni tor.

d o w n th e

PEGGY (CONT'D)
I think we're both gorng to
on Annie.

agree

KEN
Which one is Annie?
/ cm i

I oq

nf

it

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

or
n
t r v^ f

Ponc r r 'q

ehp's

I nok

."::JvlvvJL/

not,

l rke

R i ta.
i ha1-

.7 v
'.r.)r

rrOi 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

for

b u tto n

the

thg
on TV

mrcrophone.

P EGGY
f n r PssPs

hrtton

Norma, thank
hlnrm=
!\U!lltq/

I h
Ill

c i

i anno

you.

q:\/q
DalD

You can go.

aand-hrro
yVUu-!Jc

tn
uv

ihe
ulls

iT^7A
Lwv

-!Iglluet

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.

What
\/^ r r

about
:ll

KEN
th e

q o vo r i

eei :uv

product?
rrn
uY,

rrnht?
! + Y 1 r; t

It

to

makes

\^7-mon
wvltLGlIt

I o:rzoq
!ssveo.

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.

Kon

I can't

KEN
believe

: r flr 1 - n e n t

nroqcoc

l-na

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!

A nn i e .' F n s

hor o

f nr

o n r-e a n d
vr-ve

r r nr r r

ri i nq

at

qi v J

s r .q

Ktr N]

qoqqi

rhe

nn

knees.

R i ta

l eaves.

/T-.)N T'D \
\ g v rl f 9 )

(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

13

INT.

r .r r c

mrr

ir lor

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?

che book.

ile stares

at her

a beat., thinkrng.

EP#S113/P113

Blue Production

Draft

PETE
( smiles, turning
ic
You don't really
care.
TRUDY
Actually,
f

I do.
I{o
Qh o

rir onq
nr r fq

Sh
_- - _ e

ou-s
r

on )

really

do.

the book on the floor,

leans
the brush down, pleased.

her

over

TRUDY (CONT'D)
a mrnute.
t' Il be riqht

Just

hand

O n hiS

at

s r_cvej e .

her

"The Wheel" g/13/07

17.

and kj_sses her.

back.
s 1La
ql r r s uD
o

ner.

r r nr r

h:r r o

ruv
n?;

TRUDY
th a r' s
ri sky

P e te r,

YU

Hc
llE

q
i6nq
D l vp a

*
*
*

F E TE
iln

+1
. . 1c r n r
_u

l - ,.^.t

- ^^-

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

- 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

He shakes his

r, L e

44.

head.
TRUDY

Wh a f
uv

V ott

..en
uurr

q:\t

JqJ

:nrzth
i nn
qrrJ
urr:1-Y

lug.

I can't
J

hnnerr?

lLta^c.

PETE
provide for

a child

on what

EP#S113/P113

BIue Production

"The Wheel" B/L3/07

Draft

'1 Q

TRUDY
Mrz

m nilr or

,,T f

c^!tc

VO 't

W - r fv

how much chrldren

cost/
never have them. "

abgpt

you'I-

PETE
, n
D

ri.
=i
Itrau

' l iko

naf
ltuL

to

aamf
uvlrtlUr

h r in o

half

Ieast

mrr

of

.Frrrrlrr
r!
uuy

67i- urlls.
i 66

chrIri

the

rnfn

world

I' d

et

I srew up

i-

TRUDY
\^7orry about that.

Don't

r LTL
rnral-.i
vlrrrY
\ y!

na\
/

How coul-d I not?

TRUDY
You can't.
PETE

l\ed.!Iy.

*
*

TRUDY
Yntt

.in' i

\r r - r r \/

:'nntr i

r h:t

PETE
/ho:t

here. . .

So stay
Ho

k- c qes

r ' lpenl v .

hor

*
*

S h e 's

emotfonal.

M DITNV

r ) atnv
vr.

Sh e

c ont inues

him

k is s . no
'+

g;Ir Y

rrndnina

s e x r '=l l r r

PETE
You know r-t m.ght not
Don't rell
anyone.

his

naiarnas

*
just

happen.

*
*
*

TRUDY
n
V_

She starts

T rrrd rr

ai

aa

UUUT

Jg.

kissrng

hr-m agarn.

PETE
Obviously,
I know
your moE her.
tell

\7^r r

loq

, he pulls

Aq

ihor r
-'.v-1

tnn

nf

hor

l ei

cc

Fete stops.
I ro

c ni

nc

*
*
*

in

her down and rolls

on

EP#S113/P113

14

Blue Production

rNT. DRAPERHOME- KTTCHENBetty rs sittrng

drinkinq
wine.

Draft

"The WheeI" B/13/07

18A.

(NrcHT 2)

at the kitchen table

ft's
late.
Don walks

1A
I-

rn her nightgown,
in.

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?

you

DON
I have work to do here as weIL
v or r
i S?

k now

whpr o

ihe

sl i rJc nr-iector

Do

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 )

BETTY
f ,m sorry.
I, m sorry,
a terrrbl_e day.
( beat )
Srt with me.
He sits

next

to her.

He shakes out

the

3ust

had

a cigarette

DON
What happened?
ft,s
She locks
har

BETTY
horrible,
Don,

at him.

Don exhales,

uncomfortabl e.

r .r i.o

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

B etty

si pg

EP#S113/P113

Blue Production

I'm

"The WheeI" 8/13/07

20.

DON
you say?

What could
/ r ir on

Draft

surprrsed

you.

she told

BETTY
f^7l.rrr?She,s lrke a slster

to me.

DON
(strokes her arm)
A
VI

^ rV. ,U- aI J^g

U

T aalr

. t ooK/

I
JJ. ^

^ lI.I^E
D

i rhan

hnno

c^an
a n '! |

,,..J\d you

rrnrr

Lnn-

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

r.i.
IX

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

qin

nf

hor

r .r 'i no

DON
- - lo

t^r : q

ne\zar

She shouid
noi

i- lp

mrr

f 3y g;i

1g

BETTY
po:-son hrm.

.tr a Ar

It

would

-oS S .

D ON
q mi l et

llir tlo

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

the
have
al l

na?

DON
ia7hn

knnr ^r q

r ^r hr r

nonnl o

r 'l n

r ^r hr t

fhor r

dn

Berty really
down.

stares

ac hrm.

The:r

eyes meet.

She ]ooks

Blue production

EP#s113/P113

"The wheer"

Draft

B/13/aj

DON (CONT'D)
Come on.
Let,s go to bed.
ft,II
still
be here in the morning.
BETTY
know if I can sleep.

I don't

DON
the wrne.

Brrng
They get up,
15

rNT.

shut

off

the

lighrs

on the way out.

STERLTNGCOOPER- DON'S OFFICE _ (DAy 3)

Duck puts the carouser

Don ioo,< rI, over.

projector

srrde

on Don's desk.

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

" Ko d a k
T h e y ' re
+ r h^
u!lttED.

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.

Looks

like

D ON
a n ai r

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

my first
Duck l-eaves.

r - oltIci

m
r l tuak
nL o

m
tr .eo

nnl r
aI vvA

naad
sVVq

month here.

Don stares

at the

projector.

15
He and

EP#S113/P113

BIue Production

"The Wheel"

Draft

B/13/A7
az.

16

INT.

STERLTNGCOOPER- 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 .

H e IIo ,
Ken

n:lm

t.z:r zeq

fn

Annlo

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

r1-

nao].

hor

ANNIE
/
\

Jl l Vtr !u vr Di /

V UrYn1rr '
-9lr1 rr! ^'

Now?

qr ^z oet

tnr e

to

mo

l rrrtL4e

D w g g L ,/,

never thought

"f

hannen

-rn

would

it

roa:

-_:*--.__

i norl

r
.ny

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

Annie, I'm sorry.

Ievel here.

nn

We have to

set

KEN
No we don't.

PE G GY
sound

She doesn't

very

confrdent

KEN
Sho

qr :r i- oni

ittqr

Ci

rro

l r or

d i re c tro n .
P EGGY
/ nroqeaq

/ ' r lr = r '

hrrti^n

t r nn. i a

lOnf

f denCe.

Okav:

rqurru9.

vn a J

'

ANNIE
Olrrv

tt-r

ha\76r

hanncn
llqppsrl

t-a)
uv

mc
-tLgt
*'lLty

--l
atIU

"^"+L
Y vu

LII

mv

httqir:nri

me lrke

fLrrvuYrrL
l-rnr.ryl.,r
lrrrt
L-e
L rnnr
llouprrreo
T

the

T
*
noqq

q\^7o2r

niqht--

i f
4u

ron:
--:*-..-*
D ,
ho

,..-

''

t.'^rlId
wv(

i nod
-Trrcf
U u)
L
'l
nalzc

---,.i

r.ny
dbJ!
--1'

a--

*
*
*

EP#S113/P113

Blue Production

"The WheeI" 8/13/07

Draft

111
L an.

PE G GY
/nr eqqoq

tho

l r r r r - r - nn\

^t

^- - .1

ANNIE

YOq

*
*
*

nf^^\/

i nr oqqoc
Ar o

\r nr r

lr r r ttnn

mar r ier ' l?

ANNIE
\l^

could

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

IaTel I

f rrr

hrrf
eqvvetL

enr l

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

that.

\
-(

/ nrocaAa

you

nn

\
)

i m ani

na
..*

\/- r r

t ya

\r .

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

You are slrm.

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

--

r .r hon

CL Z CT .

ANNIE
/centtrno\

\t- 1r

r r qo

the

R e'l

:v - :-

EP#S113/P113

praft

Blue Production

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

Todd.

Annie

beqins

ANNIE
(over confident)
never thought rt

"I
mp

r l | 9/q.l gl l u.

l^r tr 1-

r pc:

hapoiness.
swear-- t'

:s

r nor 'l

Just

"The Whee]" 8/13/07

so

agaj-n.

woul-d hapnen to
mrr

r r nr r th

:nd

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

mrz

ask my husband.

the

r onnr r ior

(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
Q:r r

J *J

q 6 lp p r h

I no

ro

b e a u trfu l -.
fe e l
c o n fl -d e n c e
th at

hof

Make

hef

Y ou know that
comes w rth beauty?

KE N
)eaq
LLJrt

w rl l
she

WultialI

a^^l-^
lU(rA>

.';^
Wtl(,

1-l.^
t-Lr\E

n e v e r s o und confi dent,

n e v e r i s confrdent.

5'--+
Llld.L

because

P EGGY
Ba Io n e y .

Honey,

r ^ - ^ ' - - lo r s-

iL's

KEN
g od' s
mhe

!aLIlc!J!D.
r'L^

Doacrz
rsYY-Y

I nn'rc
IVVAJ

^^^r

rlnr^rU9Wllr

-lrE
+^

^a+

gr:t

to

i trc-esf
u-v-LJu

l azc't1o
vq494!E

_r

^-+^L

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

vF\.t

/r rvnl
T r nf
\ vrrr

n\
u
)

Qnr r r l
/nnintq
IJor z
"- J I

Der r l

hr q
i{ r

n qor r

such a cornball.
(MORE)

i naor \
c:

i A

i r

-Ja I c

tS

Brue production

Ep#s113/p113

Draft,'The

KEN (CONT'D)
( then )
you think he does welL with
Can we just

girls?

PEGGY
try thi s again?

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
L /

Let,s -wss
try again, Annje.
Confrdent.
Beautrful.
Peggy nods to

Happy.

Todd.

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

\
l

f 'm sorry.
Annre .
(Annie nods )
How do you feel right

now?

A}INTE
Nervous.
- F A^r /

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

wheel"

g/n/a]
24.

Blue production

EP#s113/P113

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.
ANNIE
know if I understand.

f don't

Nice work,

KEN
Lee Strasberg.

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^ ^ ^e^ e s

rrre hq

fho

to

tark,

Ken grabs her

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

fans

-L^-

her

finger

face

w i th

off
her

the
hand

button.
and

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

.l -L|:tr

qO r ng

tO

(to Ken)
Do something.

KEN
(presses -,he button,
charming )
Anyt i me you , re ready, J-ovely .
Annie

smrles

and tr-es

again,

but

her vorce

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

fs

UD,
"^

Can
^3h,+ ' f

Speak .

PE GGY
( p re s s e s
burton )
th e re
s o m e thrng
w e can

Yo u ,re

ANNIE
b e rn g so mean.

do?

thrs

rs quaverrnE.

Draft

Blue Production

EP#S113/P113

"The WheeI" B/L3/01

-a

ft's
Annie tears

PEGGY
(presses button)
Annie.
frustratrng,
Ken looks

up.

He can't

Peggy.

at

believe

)k

it.

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,

L7

rNT.

would You?

STERLING COOPER- RECORDINGSTUDTO-SAME TIME (DAY 3) 17

We see Peqqv }ean into

lhe

nic.

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

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

si r s

t her e

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

Kon

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

looks

at

h-ave gone

her

rn

PE GG}
/ c'
1 nqoq
v :v !

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 rvuu
r nt r ll=Eu
nood
io
r i o . I IT -WAll
uv
uv
R- r . e - -

i- h a

o l ci e-

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

'l
a.i v
-3-_r

ot

yuu

vort

home w l -" h
now .

I r,,rOnf
I

what.ever
L9^
Cai]I t keci ?

the

R el -ax-

Blue Production

F Dlclt? /p 1 l?

Draft

PEGGY (CONT'D)
(Iooks at her watch)
Get her in here in the next
ml-nutes , the ; ob rs hers '

STERLTNGCOOPER- BULLPEN -

rNT.

fortY

head as he gets

Ken leans over, pats her on the

Peggy watches him go.
out.

19

"The Wheel" 8/L3/01

up and walks

(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

Tf
L

2I

ri

INT.

ndq

l L.ae

Hotel--

Q^rrtro
uYqqr

v.

Just

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

Trmes

B R IGH T O N H OT E L -

TIME S SQUARE _ LOBtsY _ INTERCUT

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

uP the

phone.

2L

"The WheeI" I/13/01

28.

Draft

Blue Production

Ep#S113/p113

NIGHT MANAGER
(to phone)
Brrghton.
DON
v^^
IE51

!' ].
Ullt

iuv
-n

D9!!f/
- Ar r !7

vhnv urhpr
rs!

Iate.

I'm

looking

rugrrsflu
c neni-

Jvs

v or r

had

ior

coma

VOt:

SO

someone.

months

aoo.
-r-

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+..:

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

R i o h t-

' --]l ?

war

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

LL.Y

NIGHT IVIANAGER
I know who Yo-1're talking
Jesus, I hate -uo be the one

L:-sten.
about.
f

J-ol

rrnrr

tht
----b

L.-!
UUL

L^
IIg

L.,n^
IlulrY

11IILIDEI!.

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

th e

burl di ng

m^no\r
Itt9lrEy.

The
lllc

cu rrL _ Y tr r

:-n the

Post.
DON

ah

r!vvr
- ok\

a bunch
4ie .1.

Tt

of
r .7^q

Blue Production

EP#S1i3/P113

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

cirrnl-oA

n l--,,

He hangs his
Hrs hands seem uneasy.
Don hangs up the phone.
puts
hands.
head
in
hrs
hrs
head, Ieanrng forward,
22

22

- (NTGHT 3)
rNT. DRAPERHOME- BEDROOM

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

pi oht

;rtr

are all a week apart

takes a deep breath,
23

nho-o

r.:l
ve+-!

I q.

r.he
e

iour

to a phone number wrth

stares at rt.

in

the

center

an "MH. "

She

INT. DRAPERHOI'TE_ UPSTAIRS HALLWAY_ MOMENTSLATER

(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

i-u l h
l l r l ^ -i n l' s

V OIC E
th i -s ?

p ;- r n r r -

Who is

This

is

h a n r -r.
I r u r i Y r r rY

1111 r16

;ar

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

then

f e-entS

B E TTY
th l s ?

D r.

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

V OTC E
A rnol d

W ayne,

She f eel s l -i ke

she' s

been

krcked

in

the

.A

?o

DR. WAYNE
Mrs. StanhoPe? I told You
the service after hours.

HeIIo?
to call
l-

l..' ^

cr
- i' l
J LIII

)-pna=Ee^J, r c

IIE

11>

ai

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

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

I NT.

"The WheeI" 8/13/01

Draft

BIue Production

EP#S113/P113

hnlr l i nn

lu-lho
le

r l V l u l I IY

nhnnc
p
l l vr r e

in

hor

cu s!ar -

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

The desk lamp rs

n rri
q- * 9 - l ; Yldina

aq

cn.

still

ilnn

l:r r e

an

tho

hio

hoer

iho

nnrrnh

25

(N TGH T 3)

D ON ' S OFFTC E -

S T ER L T N G C O OP ER -

r NT .

r^rrnri

62qqqal

:nn
r;^

rtf s

H:s glass

r-ha

own,
Ll_e q
-l^'.

hia

JUL,

_-

'

htrfr;ol-

6rri

:-s half -

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

qta ndq

the

zo

I NT .

+L
Lrl

oot s

bala n c e

his

to

ana w atks

the

door.

- - ..-

- .- - n g

S T ER L IN G C OOP ER _ B U LLP E N in

IJ:rrtl
^*^1-.i
DrttuN!rlv

H e opens

a-

fho
e- r e

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

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

26

BVDs and socks,

walkrnq

i-n his

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

--

DON
w e o n fi -re?

nl

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

rrh

r l r nnnor i

e i n:

w ant

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

+^
LU

r^llLATA

HA R R Y
v ^e, .
vnul-n

'

docr.

qooq

Flnn
.,;
wr

nn.
T
"E

d^oq
Yvvr

and w a l k s

r nta

over

hi

nf

=-

quickly.

r 'e

H :r r v

nr l i - q

dnr.rn

t-ho

a:rnerrp

n:i

EP#S113/P113

27

rNT.
Harry
Harry

Blue Production

Draft

"The WheeI" B/13/Oj

31.

STERLTNGCOOPER- 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

W here's mine ?
at

HARRY
fe e t.

vour

and picks

Don re a c h e s

H a rry .

rt

up.

DON
w ant to

tal k

you.

to

HARRY
T

c:n

avn' i

:in

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

but

l i ke

the

w ay

HARRY

( unsure )
Thank you.
DON
the benefit

What's
Don n o i n ts

o rro -

hjs

s h oul ci er

of

that

to

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?

Bur

l -t

DON
a bett.e=

proj ect.or.

i'm

s u re .

HARRY
Doesn' t

l dR ,

rs

ri ght?

DON
And "The Wheel" stacks.
ql

\/ar lr
in
uv

r doq

i n

i i

anr i

an
Yv.

peopl e

ro

You store
r l r ar r ,
-""J

ro

r o:r i r z

HARRY
T tm

qttr nr i

away.
r ^?- r q

qed

They're
r r nir i)

i har r

c l on't

selling
Ei

lm

r /o
Y_vv

-r

blades,

I J-

+,

not

to

him.

DON
e x o e nsi ve

A I ol- of

"The Wheel"

Draft

BIue Production

ED# q l1 ? /p ]l?

i nto

R & D w ent

if

ntrl1l1I
T

l- nnlr

ni

;nr

cttr r oq

The

Wisconsrn.
dofinifol\/

1-ha

m=ahr

r[ s v ra ! , re ! J

of

n^rt

naner

a.l

I q

narrr

rv

fun.

the

It's

mechanical.
( Iights
In
.th r f
vllrqL

d
d
u ! si

DON
crgarette

rrorr

i :ko

Jvs

ni

)
r-i . rrrpc

of

HARRY
.I
L-:!ID

1r

m
^ cr ' 1
rll9DLry.

rr

'I r rro
s

v,rv ur r

wo
wer r p

.a
s q Pn
e -fv r r

icln

I n

ncr
6ni
YvJr r Y

nrrt e

tn
ev

and

i tv In
sc:me

yu

n:nFr.

t- he

!-r

06.;
rrD
Yv

na:nes afterwards

ask them their

!!n

r-n't
I ri
e vu !s

Y!u unr1

A nd

stuff.

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

is

HAI.R]
/ h.\dc

;i-

.- im it

T ,- ' l
cn i

no

-I-,-:;=
T r'!
lLt

fa r

.
tll '-

*^J;
t[Eu!G.

ir
rqT
J uJ

h
r l qa
r rn
v d

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

t'ne
w hv

what?

Like

.rn a PonC?

it

t) ai
- a\zo

lrke

o
_
v r sid
.

nn

n'l aqq

rul
r n,

:r nrur
tnr
q!v
r si

ni -

ttottr
]v u!

suppcse.

noq

e-

seventeen
fho

Y Ou

a P i cture.

take

HARRY
f w as al w aY s

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

They're

nnc
rf 9YD

off,

DON
a n d w h rte

c o u rs e .

nf q

rf -l

.i +
lu

way

Take

h e a t?

HARRY
I drd a whole seri-es that

Worse.

ve
ars
=q!
)

huh?

a tree

of

Refl-ection

Of

have

nrah:hl

lr:uLu!sDf

Bl a c k

ri i ci n'i

Tt'q

-.

DO N
^i ^+ , . - ^c

r - * nr ;

nrL>J

\r
w q7
J F(

ti r

hr<nn

but there
attention,
these hand prrnts.
(MORE
)

fasci nated
f ,:s a- AuX.

thousand
oer

al I

!'he

are al-so aII

8/13/07
32.

"The Wheel" 8/13/01

33.

Draft

BIue Production

EP#S113/P113

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

his

demonstratrng.

hand up,

DON
of the
The signature

' Fhor r

HARRY
ihat .
hrrt

q: v
" " J ..14v I

shaman.

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,

a moment

for

qn:nc

l^)an

l-n

We

HARRY (CONT',D)
Are you okay?
DON
mL^+|'l1
flloL

rJ:r r \ /
- jG ! ! J

not u
lru
l:rrc
L.t^
1II5

28

EXT.

c r oi- q
In o k
lvv^
n :ck

nn
,^-]J
WLr!
IU

^'11
all.

aq
aJ

I ^ ^ - - ^^
!EC1Ve:5

L^
tIC

ih c

ruUUUlt
- o r r ch

---E
r

/
1^.^
1rr5

^l^^^^
U
!U>C5

BA N K P AR KIN G L O T -

Rpt r v .

in

L.t

t. h o

:n d

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

a o l- c

=J

to

fulls
ho
r^-a

erioe

''uY

J-=qD

Out.

'nehfnci

ri oor
qvv!

!q

-rmoqf
allllvD

Don
hl -m.
fotal9q!,
!e

r-oai-J s -t

arrt

qhe

cioeS
D On
rn
- lll

2B

(D A Y 4)

he-

olor z pq: nd

n :r

qi-r-Ts

f.hen

f anr ar ir z! -cv vl.

"Yt

ruv
rn

UW.II

r e- r j,

nf f

r r n.

Y '- r

l-^
!E

!!

n r r r " l s 'n r o

t.he

to167afd

S tafts

IOt,
tuhe

She
entfanC e

tUfnS
and

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

Wh n q a v q ?

BE TTY
W l ^r sard

that?

Mr r
---t

:nr
*'
^-i

GLEN

m nihor

don't

mrr
" '_I

B E TTY
c a re.

f:thor

r.o
--

vOU
.
J'

Blue Production

EP#S113/P113

Draft

"The Wheel" 8/73/01

34.

GLE N
Mr z

m oihar

i c

.t-v 4rr r nd
Y

t-

.) 111--mF

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

^-l

his

Gl-en reaches
h i m

r q

lor tr z

talk
r,m

hand up ro her.

f :co

nr tr m hl

She holds

oq

it,

Iooks

hor
I- u !

or
9 j u rJ oq

down at

n- r \/r

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

c ry .
sion

lo

r-rvi no h' ri -- C an' t.

- vvr f

tsETTY
Dl

o=co

f o l I

mo

T ''l

'l

l .r o

nl
r :r r
v rL b J
'

th i n k

.,-^

so.

bac k

of

rloif
u

ind

BETTY
don't know anythlng,
d\jv

-urrlq

nf
v-

glove.

her

know .

h:
ll-o

GIen

h:nd
rrrrrq/

GIen.

P.or
" !- \/
D cu 9 J

}ooks

nast

hl
ai- - c
!!vu

her

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

Of
He s ta rts
r un b a c k

29

rNT.

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

but

Don sits at hrs desk,

project.or
in front of
rntercom buzzes.

as he w atches

(DAY 4)

rn a fresh shrrr but same surtf

him, AIka-SeLtzer
!rzz:ng.
The

P EGGY
i r
- r-- --ttercom

/ th r a r r a h
I)rrnar

iu'^^
llg

tw enty

stops

STERLTNGCOOPER- DON',SOFFTCE -

t- a m n h e l

ur
w r ei rr l- h

nervousl y.

B ETTY
d ear.

c o u rs e ,

ro l l i n g
to h e r

Mr -

w i sh

^1.-1^-

Adults
ta
'i viul'Lr nr r Jv t - lLlr

GLE N
I don' t

hero

t-

qpF

v.'r

Mf .

B etty

29

EP#S113/P113

Don turns
a tube of
e i l 'l

:nr J

Blue Production

Draft

"The Wheel" B/13/07

35.

around anci takes his open shaving kit complete v/ith

shavrng cream and a Wrlk:-nson razor,
off the wrndow
it

nr r tq

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
r . *J v giJear
f
.m
. . Jr*Yrlv

r el

T rrzo

r r o:r hnnl r

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

l^
nmnenrt
evrilvsrrj

oco

nf

a'l
U!sa!6:r--;

norani-t:l

J- ho
aD!4.

\/r

rlzc

th:n

f-hami

n:

)^++^e
Dg t- LE!
rr:riiiinna'

^n\r
hoi

nh:rm:norriic:l

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.

Your

DON
f a th e r-:- n-Iaw .

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

so m o

b o nnq.
nnnk

hr;

(M OR E)

A nei
A rrn

vvvvg !
-rrnnor
R :nrl

vsvs

-^r/a

EP#S1L3/PI73

Draft

Blue Production

"The i{heeI"

PETE (CONT'D)
JJo
Ilu

qoem oA

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

qr i
sr Jqqrru r or

9u

ee

hona

have a srgnl -frcant

i n thrs
comP any.

w ntt

8/13/01
3 5A.

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

Blue Production

"The WheeI" 8/13/07

Draft

D ON
Vnr r

;t

r in

nnr ^r

Anntl -

x r nr
t
vu

'

PE TE
ro me that

m a tte rs

you' re

i mnr ocqor l

DON
r

ALl.

SeIf

PETE
and status.

worth

You said

i r.
and walks

Pete smiles
30

D R . WA YN E' S oFFrcE -

I NT.

Dr.
ri
wn
s vo
v Y.
lr

the

oul.

Wayne and Betty

-

wF

qpF

F,ei- i\r

h:r
rl
rrsvlrrY

couch and lavs

nr y

'n11no

i r r qf
- l svu

r ho

+^
L\J

na

.J^-1
UEdl-

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

Wayne srts
-

vvq e t

r ^l a'l k

a1- 161s q

tO

A beat.- aat

down, settles.

r.rranlri
w! quNlllg

hg-

l l sr r Y

BETTY
Thanksgrving is hard.
nor\zA
lrs!
v s

As Dr.

rn together.

walk
r

30

(DAY 4)

It's

very

.-.1 +L
WI
Lrr

-atti L LrrrVna
YE

Mv mot-.her
- 'l

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
Uvv^Irryi

nn

JLlrarr[
-h. an k

-^a

r *r

!!vu

r t_ttie

-,,

nlru

!-

rtlJ

who
brother.
And my father,
insists
that nothing's
changed-Even though the last few times I've
L l*

Jgctl

llr lttt

Inct

hic

L^

ttc

t D

ttrn
cr-t.
Yv L LEr t

( beat )
And I know that
a

c hanee

ri
ql !^
u!rr:nk

and
el

i- om nFr

T' m

in

some way there's

ooi no

irrst

tn

walk

around that house from room to room

in tears.
But it is Thanksgiving,
enr i

T 'm

c r r at pf

f or

r r 'l

ih i nos -

thrs.
This has helped.
doesn't think so, but it
( beat )
Be i
\z-v vr r
I

no
t

ah'l e
and

he' lned-

tn

runrrr

qt i' ll
eu+r !/

ta

v4EJL,

l k.

I 'i ttl

i rrst
e

n:d

T can,t
4

Like

Don
has.
me

and
Tt

he] n

haS

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

"The Wheel" B/13/07

Draft

BIue Production

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

BETTY (COI'IT',D
)
isn't
it.
interesting,

It's
out

She takes

wrrting.

He continues

rt.

and Irghts

a crgarette

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

I ar pr -

4 q ve !

we

went

'rv

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 -vv
pv-

hp
-re

f'] '
*-rpS

OV ef

Fa9e

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

t.

w
wai
u-ts er

for

her

EP#S113/P113

She stops
crgarette.
31

BIue Production

talking,

settles

Draft

"The WheeI" 8/13/0i

silence.

rnto

She inhales

rNT. STERLTNGCOOPER- CONFERENCE

ROOM-

(DAy 4)

on her

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

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

I'm ;ust
a cake.

^*lu
l
at

door opens , Duck enters

LYNN TAYLOR/ 40's.

with

up

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.
t ro

Ther r

a' l

h:r l r

r n

'1 :1- .

tho

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

but

rhey

DUCK

T .rrn n:nr l

Wh a t

kind

<hnt.r :

nn?

,Tao

of

sl

-ri es

:re

settle.

I r r r nh

i -hcrr

Don begins.

DON
Genilomen
fei

- * - ..J - - .1.- '

T' r z c
' lnna

r lr .r

as ham ed

to

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

rl-,o
L lr s

sav

1-

-t

r ^r nr k i nn

:nd

that

-rl

way.

--

T /m

oottcn

nf

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

Ii
mi tod
*--.,-

It's

a
nni

T '\ / o

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

The cl-rent's
--+^-

i r oon

rimo

-,-

r.'
,Jay.

easier,

In
,

Blue Production

tr .viF 5 lL 3 /y!!J

Draft

"The Wheel" 8/73/07

?o

JOE
drdn't
have a problem wrth

Ogilvy
ir

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

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

vq !.

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'

Can

e-r oarrori

be

on

]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-

ihl

^a
L)I

^11tLl

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.

EP#S113/P113

BIue Production

"The WheeL" 8/13/0-l

Draft

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

qnrcoqhrn
ryqvEDrr*t

:
q

machrne.
forwards

It

/r or r or qoq

'\

rtfc
_w

ql

f ha

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

Ha rr v

i s

other

two men are t.ransfixed

or z er r - nm e

wl- t h

r
u

J-imo
ultr.u

goes backwards and

i r i oc \

a place

as

emotl-on

where we

the

on the

f I liy n

ni r:irrres

h
tJ.v -

-- rhr Le

screen.

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

Don and Betty

kissing

! r

i-:koq
eG^uJ

u
-l-^^^^
IGJ>E>

n=f

ht^
.r!)

on New Year's
htq
1-_p

--lh-q
wtpgo

1955.

orroc
Erv sD

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

the

nOW

fD

room.

n a -l -r -

nn

other,

I I V

Salvatore
hl".a

then

at

II

r yr - r r =

n^

- ^^'^r

^^- ^

rrn

Looks at him sn:-ff1rng.

^^ns

^n

.F ho
.

Il
aJ =L
l\VgAA

-1 l g

DUCK
at your

Don rs:n
his orfrce,
pack-ng
desk.
There is a buzz.

h6^D Ig

!gVl

l ook

up hrs

(DAy 4)
br:efcase,

P EGGY
/tn

Before

ae\z ae

at

eac h

next meeting.

rNT. STERLTNGCOOPER- DON'S OF'F]CE -

Mr,

:nd

Don savs

Don.

Good luck
32

- t * ^^-

--

- - ,,-

i ntor ^nm \

Phillrps

Don answers / the

rs here to

see you.

door opens.

Duck enters.

32
drink

on his

Blue production

Ep#s1r3/pL13

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

',The Wheel-" g / L3 / 01

Draf t

4r.

He enters

with

Pete,

Salvatore,

Ken:nd

SALVATORE
was beautrful.

ft

PAUL
Congratulations,

a rrttle

pete

smile.

Mein Kommandant.

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

D ar r 'l

'i ai-'l-."
LvppI.
mool-

m]-^..
trrEy
i nac

nnt

rri ntnrrr

irrcf
se
J

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
!D ^+--^
Lr[d.b

vlt!
^L-.i

I've
Fete

offers

KEN
got to get married.

Duck a glass.
DUCK
No thank you.
I,m

good.

pete

rarses

Duck passes it

to

Do:r.

DON
You know what pete?
for you to turn this
homerun.

his

glass

I've got a way

account into a

PAUL
FJof

nn

ra'l

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.

to

Don
*
*
*

EP#S113/P113

BIue produetion

Draft

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

"The WheeI" 8/13/01

414.

BIue Production

Ep#S1L3/PII3

The other

each other,

at

men look

"The WheeI" 8/L3/07

42.

Draft

Pete laughs'

PETE
funnY.

That's

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

KEN
r can weigh in-PETE

\l^

t t

V-rr
-^n

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

You Don?

DON
Excuse me?
Ken a look.

Paul shoots

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 "

Who the

ac eo u n t ?

DUCK
hell rs she?
PETE
n1-)::v

o\t6n

)Fat-tv
tvlj:

r s
:D

she's

a secretarY.

d^htt

rtr

i :

aY

Brue production

EP#s113/P173

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

Draft

D ON
.I

Donar r
- "aaJ

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

head.

He can,t

believe

*
*

this.

PEGGY
What?
Don,t

PAUL
surprised.

act

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

DON

yes,

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- t eo
- ey

*
*

tev
o wwaur !c i q
-o

PEGGY
do my sincere

I wrll

r '^
L
UnI ] /

n *- r al evr-s
o

r -e, ^f n

hand.

Hg

best.

DON
Good to hear.
Mr. Campbell will
brief
you after the holrday.
Pete warks out

right

past

peggy stands

her.

PEGG Y
v^F
_

^.
- J Uf Se.

DON
Th:tIII

Thank
- - - \4..r l

]- r o

v or r .
J

v g,

:' l

PiG G Y
Mr
Tfr:nar
!!

ql/.!!

there

awkwardry.

EP#S113/P113

She walks

out.

BIue Production

Draft

"The Wheei" I/73/A7

4 3A.

Trp#e11?

/Dl' 1

L JI

LLJ

Blue Production

Draft

"The Wheel-" I/13/01

44.

DUCK
r-sar mn
Lrt/^ b e f f

.1- n

l-ro

lp-- ar i n

"

Duck stares

I I
I..J- atr

r^riffr

il.ro

command.

of

charn

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

s srrLD

ehnl -

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

F{ :nnr z

'-*rrr

rz

=*'1 n 9 .

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

all

start

leave.

to

Dcn looks

at hrs

i+

briefcase,

closes

rNT. STERLTNGCOOPER- BULLPEN _ LATER (DAy 4)

Peggy chrough -,he bullpen.

JOAN leads

?eggy carrres

33
a box

JOAN
t/ ir r ct
T
Paaarr
'*::i

sa ir i

n h orl ri

nn\

rv v-rot Yn! - r a t.r'r'l ari nne

di dn,t
uaglr

- - Ji tJ,

r?

I;

nnrlq

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

qr r r n F i i mueq
_rLLU-

Jvrrre

rw,rr r hon
sl r

noani o

y=v!!9

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

ar i
uc

^1/
--^

r rre d i
JOAN
Ponnlo

h:tod

hi c

rw,rV!nr l z n .

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

T
I

ryatqg
L

jnoqq
]-r'^
UL,.:_L.r_*J

nrrdc?
vq!uo;

EP#S113/P113

Fl

tr a

Pr4
nrvl rsr aJ
u u- L - l . .i . ^n
rrr

Draft,,The

Wh e e l , ,

B/13/07

4 4A.
JOAN
/ emtr qor l

Please make all

J-hrnrrah

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

of

J v ur

ts v uc b

L5

)k

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.

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

door.

the

names "Victor

Jj.tJiSJ rhar some

bottom of the

*
Manny',
*
*

Blue Production

EP#S113/P113

34

INT.

"The WheeI" E/13/07

Draft

JUNTORCOPY WRTTER',SOFFICE - CONTINUOUS(DAy 4)

34

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,

Viccor

*
*
,k

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.

)t
*
*

puts

the

f\/n Ar .r r r ior

crossword

?anstr

aside,

nr im an oc

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

typing

starts

1- r r r i na

fn

hi r i o:

on his
qhnnfi nn

n:i n

rn her abdomen.
PE GGY

)='.rr
i.'=|"'Sit5i
r ao,l
.
P ro b a b l y

JOAN
rh e begrnnrng

an ul cer.

of

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

tru rrJr- ri r ? g

no

rn
-v

ii

::ttu

nd

e
q

t^l
w q J:r z

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.

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

puts

the

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

box on the

See you

vacant

desk,

Fp#q1r ?/ Dr 1?

P e ocr r

- J:j

rYYg^r :J r e - l lr c

nr
r lv s u.

Rl

rre

Pr adr r a+.1

^n
o,-.,

D raft

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

EP#S1T3/PII3

35

INT.

Blue Production

Draft

"The WheeI', B/13/07

46.

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

DR. OLIVER.
a look.

take

Janet sticks
a thermometer in her mouth,
pulse.
Dr. Oliver starts
palpating
her

qt:r i c
sf

nm r

f:l
ei ne sJ\r a r Y

l - ,o-

l l EI

nh

PEGGY
Oh my god.
The thermom.eter drops
fioor.

Honey,

out

of

her mouth and shatt.ers

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

be

on the

a mother.

PE G GY
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?

Wh a t
Dr .

Oliver

and

a re

P EGGY
y o u tal ki ng

Janet

s h a re

vol rr

cal l

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

get you
*

PEGGY
not possible.

get up.

Grabbrng her thlngs.

*
She doubles
t(

ED#q]1?

l J/

/Dl
L

LLJ

Blue Production

l?

Draft

"The Wheel"

8/73/07
i

cA

PF _L -t -V

( breathless
Oh

mrr

The nurse holds

anr i
yvs.

rT t e

*
*

;
lhr
l u!r r t

her as the

LDc.

doctor

Iooks

in

hor

or z oq

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

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

to

the

door.

orderly

OMITTED

them

wheels peggy away.

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

s:-ts her

understand,

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

Janet

for

36

T ip # q ]1 ? /Dr 1 ?

31

F' 1 r ro

D r4^.l r r c f
Vse v

e {u l l

^-

"The Wheel" g/J.3/01

48.

Draft

rNT. PETE'S APARTMENT_ LTVTNG ROOM-

( Nr cHr 4 )

Trudy, Tom and Jeannie are lookrng

q
the waII.
Pete enters.
H o,
r l r tr nl r

the paint

at

31
salnples on
,k

PE TE
nh

!rE!JU

*
*

d ,l - J_ .

TRUDY
darling.

HeIIo,

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?

rf

*
*
*
*

fl r o

FE TE
VFq
colol-rr:ii^-

thoro
urre!

wa>
'.'--:

g urvtl

*
a

hr-norgpg!
p!

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.

Oh .

P E TE
Ith i n k l s h oul d

.li.{
vls
fn

flofzinnorfq

n i c Ler i

Ire

*
*
*
*

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

down

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

rocl-

awake

I a te r.

1rh

l Vi :k o

qr rg rl so

\r ^r r
l vu

fr ^

!g

TRUDY
( a n g ry )
Daddy !
P et e

s m rl e s

p o l rte l y ,

then

h r s coat and dropprnq it

e mbarrassed reactions .

w al ks

to

the

bedroom_

taki na

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

nff

Ep#c l1?/ D] 1?

Bfue Production

Draft

"The Wheel_" B/13/0i

AO

38

INT.

HOSPTTAL- WOMEN,SWARD_ (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!

The nurse

awc1y.

stands

then wal.ks ou*'.

39

OI,iITTED

4A

rNT. TRAIN -

there

a moment,

39
(NrcHT 4)

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 -

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

q i- n
- - - PS

h :ll

VE STTB U LE /FR ON T H A IL

his
of

(N rcH T

4)

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

4I
and
the

D ON
Hello

?
RT ITTV

/N

Don?
Don puts
krtchen.
42

his

hat

on the

banister,

forlows

her voi-ce into

rNT . DRAPERHOME - KITCHEN/DEN - CONTTNUOUS

- (NrcHT 4)

the

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.

"The Wheel" 8/13/01

4 9A.

Draft

Blue Producti-on

EP#S113/P113

DON
HEIIO.

BETTY
What are you doing

here?

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

ltg
he's

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

He w a l k s

over

I' m
S he l c o k s

at

Don)
c a n d ri ve
I h aven' t

c o mrn g
him,

and

us to the
cal -l -ed a taxr

l ooks

at

*
*

her.

DON
v r:-th you,
but

c o n fu s ed,

R e a IJ -y ?

us?

BETTY
not.
ttvu.
uauuDaddv has to work.

Be tty

to

not

angry.

B ETTY
Yo u are?
D ON

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

k r c l s -.1
t j m n 1"Yl,n
'notr.roon

rhom
ur r l r 'Lr

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
Fori-

r:

'l

nnirq

bOth
rn
eLL

up.

amai'an:l
I

A S he bU rf eS hi S

EP#S113/P113

Blue Production

Draft

"The WheeI" B/1-3/07

<n

rN'r

nt r iDF- Q

D.-:r . t - . nr iq

r-n his

HO I , { E
:T

t he

- FRONTHALL (rircHT 4)
foor

oj

rhe s:eps,

exa:t1y

43
as berore,

hat

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