Peggy and Pete run into each other in the elevator very early in the morning, and Peggy tells him Freddy is presenting her copy that day. Soon after, Pete and Peggy totally do it on the couch in his office; afterward, he tells her about his marital problems, which is nice of him, because I'm sure we never would have guessed otherwise. Later, Pete's wife shows up, all bubbly about the place they just bought, but he picks a fight with her, and although they sort of make up, things are still tense. Peggy's copies get pitched; the crusty Bel Jolie man doesn't like it, but everyone, including and especially Don, goes to the mat for Peggy's general idea, and Crusty is sold, and when the boys celebrate, they even have Peggy join them, which is far better for her than I expected. A call for drinks after/during work is made, which leads to Salvatore connecting with one of the Bel Jolie guys; they talk about how great New York is before having dinner; the guy propositions him, but Salvatore, despite really, really wanting to, is too scared to go through with it. Meanwhile, the boys are having a grand old time with Peggy while Joan keeps up a running snit-etary, but really, everyone (and I do mean everyone; the whole office minus Bertram, Roger, and Don are there) is having a good time except for Pete. Peggy tries to snap him out of it, but he's in no mood to be happy for her, and he hurts her feelings badly. Bertram calls a meeting with Don; he gives him a fat check and tells him to read Ayn Rand. Don promptly goes to Midge's place, only to find her having a hippie stoner party; he offers to use the bonus to take her to Paris, but Midge convinces him to stay and chill out with some alternative refreshments. Said party favors induce a memory of Don's childhood; it concerns a drifter Don's stepmom takes in, and a conversation with him leads to the young Dick/Don referring to himself as a "whore child." The drifter imparts the wisdom of having no attachments, even telling Dick the drifter chalk code. Later, Don calls Midge and Roy out for being in love, and the hippies round on Don for his career that spreads lies, but he tells them there is no lie -- the universe is indifferent. This looks like it might mark the end for Midge and Don, and he says goodbye by giving her his big bonus check. Don goes home, wakes up his son, and tells him to ask him anything; the kid doesn't pick anything profound, but regardless, Don promises him he'll never lie to him, leading to one more memory of the drifter leaving; when Don's dad (…I guess) shafts the guy, Don realizes that his dad's a jerk. Don sleeps in his son's bed. They next morning, Peggy gets into work early again, but no one's there, and when Pete gets in, he doesn't acknowledge her. Meanwhile, Don seems to have made peace with who he is, at least for the moment.
In the very empty-seeming lobby, Pete gets on the elevator, and Hollis gives him a friendly nod. The doors start to close, but Peggy's voice calls to them to hold the door; she enters wearing a clashing lilac blouse, aquamarine skirt, and dull-brown newsboy-type thing on her head. Hon, I know you're a go-getter these days, but take an extra few minutes in the morning to look at yourself in the mirror while you're getting dressed. It'll help you more than you think. Pete asks Peggy what Draper is up to that's causing her to get in so early, but Peggy tells him she came in because she couldn't sleep for nerves. A bit of exposition that the service elevator is out allows a bespectacled janitor type to join them, and then Pete tells Peggy he's moving that day, and he's supposed to go by at lunch and supervise the men. That does seem like the only possible role for him, since with his build, lifting even a large ottoman looks like it would be a strain. At Pete's query, Peggy tells him that Freddy is presenting her copy to the Bel Jolie people that day; exposition that it's 7:00 AM is followed by the elevator finally getting to their floor.
Sometime presumably soon after, Pete is sitting and staring morosely out his window (it should be noted that the absence of his doing any work suggests that he came in early just to avoid his wife) when Peggy tentatively enters and asks if he'd like coffee; swiveling around, he orders her into the office and tells her to close the door. When she points out that there's no one there, he softly repeats, "Close the door," and she obeys. He approaches her, and the look of hopeful anticipation breaks through despite her attempt to cover. He stands close and asks her if she knows how difficult it is for him to see her walk around the office all day, and her look of anticipation gives way to a bald hunger; they make out until he breaks the lip lock and pulls her head back by the hair, an assertion of dominance she's pretty clearly into. Pete gets her on the couch and pulls it in front of the door, and they are soon completely doing it, with Peggy ordering Pete just to pull her skirt up, and him following by ripping the collar of her blouse. We then cut to the janitor from the elevator completely seeing them through the window of Pete's office and giving a derisive snort. I sympathize, dude -- that's not a sight you need to see before you even have coffee. Regardless, for a sex scene between a man-boy and Mouse Ears, that was pretty hot. Also, great work from Moss and Kartheiser both.