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The episode opens with the Draper kids watching their neighbor release homing pigeons. You're totally a genius if you think those homing pigeons will be revisited. , we see Don getting chatted up by Jim Hobart, the head of rival agency McCann-Erickson at intermission for Fiorello! a musical about former New York mayor Fiorello LaGuardia. Jim tells Don that he should ditch Sterling Cooper (zero) and get with M-to-the-E (hero). While Don and Jim's wife grab drinks, Jim tells Betty that she looks like an actress. She tells him that she used to be a model, and he says she'd be great for their Coca-Cola campaign and gives her his card. On the way home, Betty tells Don about it and he laughs it off. She reminds him that she used to be a model. The day, Betty tells Ethel about the evening and says she did, in fact, used to model. Later, while in therapy, she tells her therapist the same thing. She also mentions that her mother pressured her to be thin. The doctor suggests that Betty's mad at her mother, but she seriously protests. She doesn't break anything, but she's pissed. At Sterling Cooper, the guys discuss their pro-bono work for the Nixon Presidential campaign. They're worried that Kennedy is going to win, but then laugh at the absurdity of the idea. Don starts getting all sorts of gifts from Jim, who seriously wants him to work at McCann-Erickson. Roger catches wind of the courtship and offers Don more money. Betty decides to audition for the Coca-Cola job and gets it! The first day she's at work, though, the homing pigeons return to the Drapers' neighbor's place and the dog grabs one. The neighbor tells the Draper kids that he will shoot their dog if it's ever in his yard again. Things were so much simpler back then. Betty loves going back to work. Pete and Harry come up with the idea of taking up ad space that would have been used by the Kennedy campaign with ads for the laxatives that they're working on. They're hoping to shut Kennedy out of the markets that are swing states. That is totally going to work. The bigwigs at Sterling Cooper love the idea. Peggy splits her skirt and Joan loans her a dress, which leads the guys in the office, Pete included, to discuss that she's gained a little weight. Later, Joan tries to tell Peggy that she should try to slim down. Peggy gets really defensive until she realizes that Joan isn't being nasty, she's just relaying the cold hard facts that a woman really isn't worth anything unless she's thin. Later, the guys are talking about Peggy again and Pete freaks out and sucker punches Ken. When Don sees the modeling shots of Betty, he realizes that they offered her the job just to try to lure him to McCann-Erickson. He marches into Roger's office and tells him that he's staying at Sterling Cooper. Of course, this means that Betty loses her job. She tells Don that she has decided to stay home, instead of modeling. But she did, in fact, model. Later, after Don has gone to work, she smokes some butts and shoots at the neighbor's birds while he protests. Want more? The full recap starts right below!
Many thanks to Jeff for covering the recaplet for this episode while I was out of town on vacation.
We open on a shot of the Draper kids playing with their dog (have we seen the dog since Don brought him home instead of a cake?), and then we pan down to reveal Betty doing a little pruning while wearing chic white-framed sunglasses. door, a neighbor releases some pigeons we'll soon see appear to be of the homing variety; the kids are excited to see them fly, but Betty just regards them neutrally. She does respond to the neighbor's friendly wave with a smile, but that's probably because if you piss off The Pigeon Whisperer, you're likely to end up with at least one eye pecked out.
At the theater, Don has just lit a cigarette (...I know, it's not exactly catching lightning in a bottle) when an older guy approaches him. Don complains about having to sit through Fiorello!, but the guy is interested in talking business, mentioning that his agency got the Israeli Tourism account (from "Babylon"). I guess the Israelis didn't want the sophisticated approach after all, but I'm going to move on from that thought lest I distract myself by coming up with taglines they might have used, like "Visit Israel and Haifa great time." The guy ("Jim Hobart" is his name) tells Don that "Jesus over Rio" (also mentioned in that same scene in "Babylon") is the best tourist campaign he's seen in over twenty years, and mentions how he and some advertising bigwigs were talking about Don at the very exclusive New York Athletic Club. Hobart goes on to tell Don that he's too good for Sterling Cooper -- he should be over at McCann-Erickson with him, where he'd have five hundred people at his disposal, and that's just in New York. Don looks noncommittal but flattered, and then Hobart's wife "Adele" appears, soon followed by Betty; introductions are made all around, and then Adele somewhat pointedly tells Betty that Don was about to prove that he can talk about things other than advertising. I think Adele has heard her share of advertising war stories for this life and the . Upon being told by Betty that Don is "very interesting," Adele leads him away to get the four of them drinks as he specifically ascertains that Betty would like champagne, leaving Hobart to ask Betty if she's an actress. I'd point out that, given that words are his business, that's a pretty hoary opening gambit from Hobart, were it not for the fact that Betty laps it up like it's one of the finest vintages of Cristal. She tells Hobart that she used to do some modeling, "a lifetime ago," and he says he's not surprised, as she's got some face. He adds she's a dead ringer for Grace Kelly, and Betty acknowledges that she used to get that all the time. Hobart then mentions a Coke campaign he's working on that he thinks Betty's "European face" would fit perfectly. Betty blushes and unconvincingly tries to say she's retired, but Hobart hands over his card and urges her to think about it. The end-of-intermission lights blink, and Adele, returning with Don, encourages everyone to drink up. I think they'll be able to handle that one. The two couples head for opposite sides of the theater.
Later, in the car, Don uncharacteristically displays a smoking cough while fiddling with the radio; Betty looks displeased with Don, and eventually asks why he turned down an off-screen invitation to go out to dinner from Hobart and Adele. Don says people like Hobart talk solely about advertising because they have nothing else to say, an answer which mollifies Betty, although I think his real motive was to block any more salesmanship from Hobart on the job offer. Anyway, Betty tells Don about Hobart giving her his card, and Don snarks, "What, did he tell you to put it under my pillow or something?" Jeez, Don, you may be hot and brilliant and all, but I don't see you pulling off the Grace Kelly look. Seriously, though, that comment tells us that he told Betty about the job offer, which frankly kind of surprises me. I wouldn't think that's the kind of thing he'd share with her until he'd made up his mind (although maybe at this point, he thinks he has). Don is smilingly skeptical about the whole thing, but Betty points out that she did once model and asks if she's that wrong for Coke as she cutely gives a model-like artificial smile. Don lets the issue drop: "You're not wrong for anything." Particularly not the cover of Field & Stream, if the end of the episode is any indication. Betty asks if Don is going to go to McCann, and he stares ahead at the road in uncertain silence.
Close-up on a hand stirring a cup of something. Francine asks how "Fiorello Exclamation Point" was, which is funny, but if the bottle of generic saccharine tablets to her hand is the show's way of answering her question, that's hilarious. Betty, straightening up the kids toys, including a BB gun not that that will be important later, good-naturedly confesses that it'll be at least six months before she can get Don back into a Broadway theater, and then tells Francine about Hobart's courtship of Don and the mention of modeling. Francine dubs the modeling offer as "a heck of a line," proving that the saucy pregnant lady and I sometimes think alike, and Betty, in response to Francine's follow-up, says that Don "basically said the man was trying to sleep with one of us, and that he didn't like the idea of either." Heh. The women giggle, and then Betty seriously tells Francine that she has modeled, a revelation at which Francine isn't at all surprised: "Carlton calls you 'Grace Kelly'." I'd complain that they're pushing that idea just a little too hard were it not for the fact that there really is some resemblance there. Also, it's interesting that Francine says this without a trace of insecurity or jealousy; these two really do seem to be sincerely close. Betty gives us some further information when she tells Francine that she was modeling in Manhattan when she met Don, but she got her start in Italy the summer after college (remember that Betty mentioned having been to Italy; I think it was back in "Marriage Of Figaro"); she happily recalls a designer named "Giovanni," "Gianni" for short (Betty seems to think erroneously that he wanted to be called "Johnny" because he loved Americans, which is kind of endearing, but makes me wonder how she got by over there), with whom she had an "artist-muse" relationship. Just so you know, Betty, the muse doesn't always have to be naked, despite what Giovanni/Gianni might have told you. Also, just to mention it, it's true that Giovanni Versace went by "Gianni," but he wouldn't even have been in his teens when Betty was abroad, which seems inappropriate for an artist-muse relationship with a grown woman, even if it is Italy we're talking about. Of course, there was the whole lock of hair thing with the nine-year-old. Anyway, Francine's response to this revelation is an amused "Okay." That's what I should have said. What also needs to be said is that I'm really starting to think Francine kind of rules.
Sometime later, we pan across several dresses laid out across Betty's bed; Francine calls in to Betty, who's getting changed, and asks if he really made her all these and still had a platonic relationship with her. Betty comes out happily sporting a sassy dress that I won't bother describing when I can link to it, and Francine's reply is "Mamma mia!" You said it, ragazza.
Don enters his office as Peggy's boobs trail after him; five minutes later, the woman to whom they're attached enters and briefs Don on his day. She does mention "the Menkens' artwork," just so we know Rachel is still alive, and then tells Don that a package was delivered late the day for him After she leaves, Don opens the box, in which he finds a membership card to the New York Athletic Club and a note from Hobart asking him to call. Don immediately buzzes Peggy and asks for an outside line.
Connected with Hobart, Don says he appreciates the gesture, but he's still pretty clearly reluctant even to agree to a face-to-face meeting. Hobart clears the flunkies out of the room and talks straight: Sterling Cooper is a "Mom and Pop," while McCann is an international company. Well, maybe he's saying that SC doesn't have international locations, but since it did business in South America and was considered by the Israelis, this doesn't seem like the strongest argument. His larger point, though, is that McCann has a huge network and is a publicly-traded company, and basically, it could open opportunities for Don beyond his wildest dreams. He offers Don a three-year contract at thirty-five grand a year, and closes with this: "All I can say is, eventually you come up here, or you die wondering." Well, he's certainly stepping up his verbal game. He hangs up, and Don is indeed left to look like some things are on his mind as he stares at Hobart's card.
Nice cut to Betty telling Dr. Wayne about Hobart giving her his card. This leads into her telling Dr. Wayne how she and Don met; she was modeling a Russian Blue Fox coat, and Don was a copywriter at the fur company. She mentions that Don observed that she didn't want to give the coat back. "It's always the hardest part." Hmm. She goes on that Don asked her out and wasn't shy, which she liked. However, she said no (she doesn't explain, but I'm thinking this was something her mother trained her to do), and then three weeks later, the coat arrived at her apartment. I guess being coy really can have its benefits. Betty says she wonders what kind of "Indian trading" Don had to do to get it. I wish Betty did know, because I'd love to hear the details of how Don bartered his way up to a fur coat while starting with nothing but a couple pens with the fur company's name on them. Betty says she had a few more jobs before she got engaged, but then she got pregnant. No mention of whether that happened before or after the actual wedding, not that it really matters. Unless, of course, Betty is lying and she actually got pregnant before the engagement, but let's stick with the idea that she was a Good Girl who would never Do That for now. She says they moved to Ossining because raising kids in the city is a nightmare, an opinion with which my mother would hopefully disagree, and at that point, she suddenly felt old. Dr. Wayne asks her to tell her more about that, which I think is the first instance of him addressing her in these sessions that we've seen. Betty brings it back to her mother, who she says was very preoccupied about looks and weight, and all I can say is it's a good thing for all concerned that she didn't give birth to Peggy. Betty confesses that she's always eaten a lot, and her mother warned her that she would get "stout." However, her mother also hated her being a model, even going so far as to call her a "prostitute," which I suppose is consistent with the idea that her mother valued beauty only to the extent that it could be used to catch men. Dr. Wayne theorizes (well, it seems pretty clearly fact, really) that Betty is angry with her mother, causing Betty to sit up, look at him, and snap, "What? Are you going to talk now?" Not if he knows what's good for him, given the CRAZY that just appeared in your eyes. Dr. Wayne, however, evenly repeats his assessment and points out that she's sitting up, which is against the rules of Freudian psychoanalysis, I believe. Betty complains that he doesn't listen and then provokes her out of nowhere, but when Dr. Wayne asks her to elaborate, she flops back down, lights a cigarette, and says she misses her mother. "She wanted me to be beautiful so I could find a man. There's nothing wrong with that." Just when you want to shake her, though, she has a small moment of revelation, saying that she doesn't know what happens after that goal is fulfilled: "Just sit and smoke and let it go 'til you're in a box?" So she realizes that she's unfulfilled, that marriage and family aren't the be-all and end-all she thought, and perhaps the rekindled interest in modeling is evidence of that. Now we're getting somewhere! So when do we start talking about Betty's dad? Betty adds that she doesn't care why Hobart gave her his card, which unfortunately allows her mom to shout "See? See? Prostitute!" from beyond the grave.
On TV, Jackie Kennedy is doing a spot promoting her husband in Spanish; the show is probably emphasizing the idea that JFK was much more progressive than Nixon. From what I can make out, it sounds like she's saying that given the threat of Communism, it's imperative to elect a trustworthy leader who will apply a firm hand. The lights go up, and we see that the boys at SC have been watching. They're sort of like, "..." at the ad, but Harry says that Roger thinks if JFK gets any higher in the polls, Nixon will panic and hire them, so he wants everything ready. Don wonders why they're doing this, and out of pocket no less, prompting Pete to snit, "I for one don't question the wishes of our clients." Big talk from a guy who gets his best ideas from other people's trash cans. Don points out they haven't figured out a way to make an impact on the campaign, and you'd think Pete, the only one who took JFK seriously at their last meeting, would be a little more receptive to Don's way of thinking here. Of course, total douches like Pete are often unpredictable, as we'll be reminded later. Harry says his "marching orders" are to focus on the battleground states (although he doesn't use that term), and Salvatore closes the meeting by talking about how he thinks women will hate Jackie. "It's like their better-looking sister marries a handsome Senator and she's going to live in the White House. I'm practically jealous." I see we're back to comic relief with Salvatore. Not that that's a bad thing.
Don arrives home and kisses Betty, who's in her nightgown; Betty says she assumed Don was staying in the city, which could be a nod to the end of the affair with Midge. Don blames his lateness on Peggy, saying she's been "distracted," although we haven't seen any evidence of that yet. She gets some food out of the fridge, and then steels herself and says she misses modeling. Interestingly, Don says that Betty always told him she hated it, which is pretty clearly not the case given her earlier reminiscing to Francine, but Betty simply says that the passage of time has made her feel different, and she'd like to go back to it part-time. Don's surprised, and somewhat passive-aggressively (although to be fair, there's not a lot of sting there) makes a couple of discouraging comments, but Betty is undeterred.
Peggy takes a paper out of the typewriter and starts to scrub an error, but knocks something to the floor in the process and then rips her skirt reaching over for it, causing her to look freaked out. If only Pete had ripped her skirt last time, she might have been carrying a spare.
In the break room, Lois and the switchboard girl with the glasses are telling Joan how boring their job is; Joan is surprised, thinking all the gossip would be completely salacious, but Lois replies: "They told me it would happen. But the truth is, you really just stop listening." Sounds like someone's no longer enamored with a certain well-dressed closeted Italian mama's boy. Peggy enters, having tied a sweater around her waist to cover the rip; hilariously, all three women look down as she passes, and if only they were copywriters, I think we would have just witnessed the genesis of the term "junk in the trunk." But actually, it's the sweater that's giving them pause, because after the switchboard girls leave, Joan basically asks if Peggy is using the sweater to hide certain monthly issues. Peggy confesses the news about the rip, and after ascertaining that it's too big to do a quick needle-and-thread fix, Joan nicely says she's got a spare outfit Peggy can borrow. That's generous of her, but do you really think it's appropriate for Peggy to finish out the day dressed as a naughty nurse?
Roger (...been a while, hasn't it) enters Don's office, golf bag over his shoulder but wearing a suit; Don comments on the incongruity, but Roger gets down to brass tacks, saying he's lost men like Don before, most likely due to his "unexpressed confidence." He tells Don he's one in a million, and adds that the bonus from Bertram was designed to protect against offers like the one from McCann. Also, he saw the clubs being delivered and thought they were for him, and nervously (for him) asks what Hobart offered. Don: "Bigger." There's that succinctness we all know and love. He goes on about the big clients, mentioning Pan Am specifically, prompting Roger to tell him that the lifestyle Hobart is promising isn't anywhere near as glamorous as he thinks. And he doesn't even know about the whole Catch Me If You Can thing. Roger confesses that he thought about leaving once, but realized it was a more daunting prospect that he originally thought, and he didn't want to entertain the possibility of failure. He asks Don if he really wants to start over, but Don tells him he hasn't made up his mind. Roger says he's taking Don's decision very personally, which I guess makes sense if he's thinking the pass he made at Betty might factor into it. Don says it's just business, and Roger, seeming almost hurt, parries, "Is it?" He leaves, and Don looks bemused.
The boys have now heard about the job offer, and Harry wonders about the money, saying he heard Don makes thirty grand a year already. Pete announces that Don isn't ten times better than he is, causing the other boys to give him hilarious "you just keep telling yourself that, Princess" looks. Paul offhandedly says that Pete loves Don. "Everybody loves him." Pete tries to deny that, and then the subject is changed when Peggy walks by, looking uncomfortable in an ill-fitting red dress of Joan's. Once she's past them, Paul snarks that she crossed his mind once (although he leaves out the part where he kissed her and she rebuked him), but she's having "a very bad freshman year," no doubt referring to the freshman fifteen. Ken points out that Peggy aced the Bel Jolie thing, and speculates that Peggy slimmed down to get the job at SC, and what they're seeing is the normal her. Pete expresses his disinterest, and thinks maybe she'll leave with Don. Ken then makes a lewd comment about how Peggy went bad before anyone got to "eat her," causing Pete to jump up like he just sat on a cattle prod. Which would be nice to see happen at some point. Pete inquires if Harry's busy. You have to ask?
We pan across a bunch of women seated in a waiting room, presumably at the modeling audition. Betty, in a flowing pink, black, and white number, manages to be both severely overdressed and to look like an ice cream cake. Before she can stew too long, however, Hobart appears and greets her. He's with their art man (also Hobart's brother-in-law, we learn), "Ronnie Gittridge," and if his voice and mannerisms are anything to go by, I wouldn't be surprised to learn that he's seen the view from many a traveling salesman's hotel room. Betty apologizes for her attire, saying the business has changed since she left it, but they pooh-pooh her concerns, and after Hobart warns her that it's just a tryout and Betty counters that she really has done this before, Ronnie leads Betty away.
Harry and Pete are discussing their ad-buying strategy for Secor Laxatives. Pete complains that the Secor people have "absolutely no sense of humor about their product." I'm sure the rest of us can make up for that. Talk turns to reminiscence about the glory of their college days; Pete tells a long-winded story about how his frat's mascot "Mamie" died, so, in order to steal girls' attention from a rival frat who was having a big "beauty-pageant parade," they had a grand funeral for the dog on Main Street. After some chuckling and Harry rightly calling Pete's frat "idiots," Pete has An Idea: Since JFK and Nixon are competing for airtime, they can use their ad-buying for Secor strategically to help Nixon, buying precious airtime in the swing states. "We're selling laxatives, Nixon's selling Nixon, and Kennedy's watching Mamie's funeral." Pete explains this strategy so poorly here (he seems to miss the fact that they can't buy time and give it to Nixon, so their actions will detract from both candidates' time equally; Bertram will explain the real thrust of it later) that I'm not entirely sure he's even clear why this is a great idea, but nonetheless, he looks thrilled with himself, which I can believe.
The TV in the Draper living room is on, and Don looks half-asleep on the couch as we hear the phone ring. After a minute, Betty enters and happily announces the call was for her -- she got the job. She stands in hopeful anticipation, and Don smiles as he says he's not going to ruin the moment -- he's very happy for her. She slinks over and starts kissing him, and then says she knows he's not a big fan of what she's doing, but she thinks he's a little proud of her. I'd say that's an accurate read, borne out by the fact that when she climbs all over him, Don doesn't refuse her advances, in fact telling her that they can do it right there. They lean down out of the frame, and all I can say is I hope the kids are either in bed or taking the dog for a good long walk.
Speaking of, the day, in the living room, we see "Ethel," a woman Betty mentioned earlier as a regular kid-watcher. Of course, that's a loose term, as she's sawing logs on the couch while the kids chase the dog.
It's Betty's photo shoot; she's keeping a smile plastered on her face as she hands two bottles of Coke to her "husband," with their two "children" off to the side. In between shots, she asks Ronnie how the bottles are already open, to which he smiles, "We don't want life to look difficult, now, do we?" Indeed, so perhaps it's time for Betty to stop smiling so hard that her teeth look like they could pop out at any moment.
The kids are watching the homing pigeons return to the neighbor. However, one of them flies too low, and the dog ("Polly," I believe) makes a successful leaping grab for it. Sally is horrified, but the neighbor quickly grabs Polly and induces her to let go. He picks up the pigeon, which is a little bloody but seems okay, and then turns to Sally and tells her, "If I see that dog in my yard again, I'm gonna shoot it." First off, the dog didn't actually get into your yard. And second, perhaps that's a sentiment you should WAIT TO TELL THE PARENTS? Sally terrifiedly leads her brother and Polly back into the house.
The family's at the dinner table already when Don arrives home. Betty smilingly tells him about how great the photo shoot was and says she brought a form home that he can help her with so she can get paid. He replies that he'd love to, and I know Betty's wrapped up in her own success here, but it's hard to believe she completely missed Sally almost biting through her lower lip over there...
...but later, Sally comes in and wakes her parents up, saying she had a bad dream. She recounts what happened that day, and Betty assures her that no one is going to hurt Polly. After she returns from putting Sally back to bed, Don thinks he should go have a talk with the neighbor, but Betty thinks that's a bad idea at two in the morning, and says she'll handle it the day. Don makes some pointed comments about Ethel's child-care abilities and her failure to tell Betty about the incident, but Betty thinks the kids simply didn't mention it to Ethel, and says they'll be over at Francine's for the shoot anyway. It's too bad Francine isn't coming over to the Drapers', because neither the neighbor nor his stupid pigeons would stand a chance against her. Don, in a more conciliatory tone, says that Sally's never slept well, but Betty thinks that's not true, and then asks if Don noticed the size of Sally's tears. "I really want to get a picture of her crying one day." Trying to get her started early on the therapy, eh?
With Peggy there, presumably as a note-taker, Paul, Pete, and Harry are in with Don; Paul overdoes some complimentary remarks about Don's Lucky Strike campaign, and the boys co-sign, presumably trying to get in good with the possibly-bound-for-McCann Don. Don's response is a somewhat amused thanks, and then Bertram and Roger enter, with Bertram demanding to know who's responsible for buying so much TV airtime for as-yet-unproduced Secor commercials. After some hemming and hawing, Harry takes the "blame." He pretty clearly thinks he's falling on the sword here, but Pete pipes up that some of the responsibility is his. At Don's query, Bertram explains that every commercial "in the land of Lincoln" is "clogged up with laxative buys." I told you someone would be working the jokes. Roger adds that there's a little bit of Nixon time in there, and here the true genius of the strategy is revealed: Kennedy will be forced to rely heavily on radio, on which his charismatic looks and personality will be neutralized (the implication being that for Nixon, with his mug, that wouldn't be a hardship and might even be a plus). "And with that accent. Nicely done!" Roger adds that he didn't think they had it in them. "And I mean that." Pete's recovered to be pleased, but Harry still looks like he shit his pants. Stupid Secor. The bigwigs withdraw, and Don congratulates the boys. Pete snarks that Peggy should write that down. "Don said congratulations." He stands and asks if they're done. Don: "No." Deflated, Pete site back down. Ha! Looks good on you, punk.
Later, the boys are celebrating with drinks (like I needed to clarify that) in Pete's office when Hildy enters with a bottle of whiskey from Freddy. Harry: "Unopened! Very nice!" I guess this is one delivery Roger didn't intercept. Pete invites Hildy to have a drink, but she is having exactly none of that, although she does say it's because she's going to her parents' after work. Pete slurs that Hildy should do something about her "sour puss," as she's very beautiful. A lateral move away from your sorry ass might help, dick. Hildy does not crack a smile, and looks upset as she leaves and the boys guffaw.
Peggy hands off another envelope to Don; when he opens it, he finds prints from Betty's photo shoot, including a close-up of her smiling. Getting the implication that this was another effort to woo him, he looks chagrined, and I actually think it's dismay at and sympathy for Betty's likely upcoming disappointment than anything else.
In the main area, Don walks purposefully up to Roger's office and asks his secretary if he's in. Cut to inside, where Roger is eating what looks like Jell-O. Roger, you're supposed to slurp it out of little plastic cups. Roger lightly says he's not doing a great job of keeping Pete down, much as he'd like to, and jokes that he might ask Don to take Roger with him. Don, however, has made up his mind to stay, although he wants a raise to forty-five grand, a request at which Roger doesn't bat an eye. Roger asks without asking why Don is staying, and Don tells him he likes the way Roger does business. He does say he won't sign a contract, but promises that if he leaves SC, it won't be in pursuit of advertising, but "life being lived." Awesome little development -- it's just another illustration of the fact that Don will always be an outsider, even a maverick. The really interesting thing, though, is that Betty is showing signs in this episode of becoming the same, and it would be fascinating to see them share that status. Roger says he's seen men like Don, and they'd happily pitch until their dying day, but Don says he's done that. "I want to do something else." He leaves.
On the way back to his office, Don instructs Peggy to connect him with Hobart. When we cut inside, Hobart's under the impression that Don's calling to accept the offer, because he thinks Don wouldn't have sent Betty for the job otherwise. Don disabuses him of that notion, however, and says that while he knows McCann is "Yankee Stadium," it's not for him. He adds that giving Betty the job under false pretenses wasn't exactly "a big-league move," although I'm sure there are many Yankee haters out there who would disagree. That comment does induce a small flinch from Hobart, but he recovers to say that it's a pity to lose both of them. He tells Don that he's lucky to have landed Betty, and then disconnects, leaving Don to look worried.
Joan comes into the break room and asks Peggy what's going on with Don. Peggy offhandedly says that even if she knew, she wouldn't tell her, and Joan approvingly responds, "Very good." Heh. Peggy gives Joan the dress she borrowed, which she had dry-cleaned, but Joan, after a pause, offers to let Peggy keep it. "Have it taken in here and let out there." Peggy doesn't get it, so Joan switches tacks and calls it a good idea that Peggy's drinking hot tea (as opposed, I guess, to something with calories). Peggy still has no idea, and Joan's eyes soften as she explains that Peggy is falling prey to a very common situation for new girls, and asks if she wants to do well there. Peggy proudly says that she's the first girl to do any writing for the agency "since the war," but Joan is in disbelief the writing was an end in itself -- she thought Peggy was just doing it to get close to Paul. Huh. I wouldn't have thought Joan would have missed Peggy's attraction to Pete, as well as she's hidden it from everyone but him. Joan tells Peggy that she was being considered for an account because the client's wife saw her and thought she'd be okay for her husband to work with, and Peggy finally gets it, or stops pretending not to get it, snapping that Joan's not exactly a stick herself. Joan easily admits that, but says she knows she's hot. "You are hiding a very attractive young girl with too much lunch." Damn, girl. You sure know how to make a compliment taste bitter. Peggy snits that she knows what men think of Joan: "You're looking for a husband, and you're fun. And not in that order." Joan, proving she can take what she dishes out, evenly says there's no money in virginity, prompting Peggy to tell her she's not a virgin. Joan, softly: "No. Of course not." Peggy realizes that Joan thinks she's being helpful, and Joan sincerely tells her she's trying. Peggy touches Joan's arm in a reasonably friendly way, and says she's going home. She leaves the dress. Another powerful, understated, unpredictable scene, one that gives Joan a lot more depth.
Photo shoot, at which Betty is smiling. Might as well keep it up while you can, girl. In a less gushy tone than he's been using, Ronnie comes up to her and tells her that the client has decided to move the international work to London. "More Audrey Hepburn, less Grace Kelly." He tries to tell her that she has two great sets of pictures with which to start her book again, but that doesn't stop her from looking devastated even as she tries to smile. He offers to let her keep the dress and the hairstyle, but he can't completely keep up the businesslike act when the tears start to fall, and tells her, "Honey, it has nothing to do with you." He does not, however, go on to tell her any stories about his DICK of a father-in-law, which is just too bad. Ronnie flits off, and a female flunky comes up and blithely removes Betty's jewelry from behind even as Betty starts to cry harder. Aw.
In the main area of the office, people are having a rather drunken party. The boys see Peggy on her way out (wearing the same outfit as in the scene with Joan, just in case there was any timeline confusion), and Ken and Paul make some dickish comments in the same vein as earlier. However, when Ken says that a girl like Peggy is a lobster, because "all the meat's in the tail," Pete gets a nasty look on his face and stands up and punches Ken. I hope that's not the best he can do, because I'm pretty sure Vincent Kartheiser didn't get cast as Connor The Destroyer throwing girly-assed punches like that. He and Ken wrestle, which is pretty hilarious since Kartheiser comes up to like, Aaron Staton's waist, and as the other boys try to break them up, Roger and Don walk out, and Roger offers to drop Don at the station without either of them sparing a glance at the brawl. Heh. Pete and Ken finally get pulled apart, with Ken (nice touch that he's completely out of breath; he's one of the heaviest smokers on this show) asking why the hell Pete sucker-punched him. Pete doesn't answer, so Paul puts an arm around each of them and orders them to make up, and they shake hands. I'd like to think Pete was defending Peggy's honor, but until I see a little more, I'm going to have to think that he was just drunkenly pissed that Ken was deriding his taste. And don't email me until you at least watch the scene with Hildy again.
Don comes home to find Betty serving dinner for the two of them; the children are already done, and she's just poured some wine. Don asks how it went, and Betty tells him it was great, and McCann is talking about a whole other slew of possibilities for her. Don, rather beautifully, starts to look dismayed, probably because Betty is feeling the need to put on this brave face for him. She tells him that despite the "success," she doesn't want to work any more, as it will hamper her efforts as a housewife, and besides, she doesn't like Manhattan on her own. "What am I going to do, run around the city with my book like some teenager, making a fool of myself?" Well, if it influences your decision, I'm sure you'd have company. Don takes her hand and sincerely tells her that if she wants to, she can. "It's my job to give you what you want." Betty says he does, but he presses the point, calling her "Birdy" (I think I thought it was "Bertie" before, but it's pretty clear from the themes going around in this episode alone that that's not the case) and saying that he doesn't care about stuff like making his dinner or taking in his shirts, as that's nothing compared to motherhood, and she's the best mother in the world. She looks touched at his faith in her, and he goes on that he would have given anything to have had a mother like her -- "beautiful and kind -- filled with love, like an angel." Damn, of all the people on the show I would have thought would make my eyes fill, Don would not have been tops on the list. Betty smiles, and they get down to eating.
The morning, Don's on his way out the door; the kids say goodbye, and Betty tells him they're going to the community center to watch the pool being filled. They share an affectionate smooch, and then Don leaves. Later, Betty's doing laundry as she calls to the kids not to jump off the bed. Given what you're about to do, I'd suggest they hide under it. We see the clock read one, and Betty is now sitting having a cigarette. Oh, dear. I can only think that this quick shot was included to demonstrate that she's back to sitting and smoking and letting herself go. And I'd express the hope she's more at peace with it now, but that theory's about to be, um, shot down. Cut to outside, where we see her still smoking and giving the flapping pigeons an appraising look. She then raises the kids' BB gun and starts shooting away over the neighbor's frenzied objections. So, what time's therapy tomorrow? Seriously, aside from the obvious revenge against the neighbor, I think she wasn't trying to hit them, but to scare them into not coming back, thus metaphorically giving herself, "Birdy," freedom, especially given the reversion into her housewife's identity. "My Special Angel" plays into the closing credits, and whatever the reason for that ending? Awesome.
Don comes home to find Betty serving dinner for the two of them; the children are already done, and she's just poured some wine. Don asks how it went, and Betty tells him it was great, and McCann is talking about a whole other slew of possibilities for her. Don, rather beautifully, starts to look dismayed, probably because Betty is feeling the need to put on this brave face for him. She tells him that despite the "success," she doesn't want to work any more, as it will hamper her efforts as a housewife, and besides, she doesn't like Manhattan on her own. "What am I going to do, run around the city with my book like some teenager, making a fool of myself?" Well, if it influences your decision, I'm sure you'd have company. Don takes her hand and sincerely tells her that if she wants to, she can. "It's my job to give you what you want." Betty says he does, but he presses the point, calling her "Birdy" (I think I thought it was "Bertie" before, but it's pretty clear from the themes going around in this episode alone that that's not the case) and saying that he doesn't care about stuff like making his dinner or taking in his shirts, as that's nothing compared to motherhood, and she's the best mother in the world. She looks touched at his faith in her, and he goes on that he would have given anything to have had a mother like her -- "beautiful and kind -- filled with love, like an angel." Damn, of all the people on the show I would have thought would make my eyes fill, Don would not have been tops on the list. Betty smiles, and they get down to eating.
The morning, Don's on his way out the door; the kids say goodbye, and Betty tells him they're going to the community center to watch the pool being filled. They share an affectionate smooch, and then Don leaves. Later, Betty's doing laundry as she calls to the kids not to jump off the bed. Given what you're about to do, I'd suggest they hide under it. We see the clock read one, and Betty is now sitting having a cigarette. Oh, dear. I can only think that this quick shot was included to demonstrate that she's back to sitting and smoking and letting herself go. And I'd express the hope she's more at peace with it now, but that theory's about to be, um, shot down. Cut to outside, where we see her still smoking and giving the flapping pigeons an appraising look. She then raises the kids' BB gun and starts shooting away over the neighbor's frenzied objections. So, what time's therapy tomorrow? Seriously, aside from the obvious revenge against the neighbor, I think she wasn't trying to hit them, but to scare them into not coming back, thus metaphorically giving herself, "Birdy," freedom, especially given the reversion into her housewife's identity. "My Special Angel" plays into the closing credits, and whatever the reason for that ending? Awesome.
Don comes home to find Betty serving dinner for the two of them; the children are already done, and she's just poured some wine. Don asks how it went, and Betty tells him it was great, and McCann is talking about a whole other slew of possibilities for her. Don, rather beautifully, starts to look dismayed, probably because Betty is feeling the need to put on this brave face for him. She tells him that despite the "success," she doesn't want to work any more, as it will hamper her efforts as a housewife, and besides, she doesn't like Manhattan on her own. "What am I going to do, run around the city with my book like some teenager, making a fool of myself?" Well, if it influences your decision, I'm sure you'd have company. Don takes her hand and sincerely tells her that if she wants to, she can. "It's my job to give you what you want." Betty says he does, but he presses the point, calling her "Birdy" (I think I thought it was "Bertie" before, but it's pretty clear from the themes going around in this episode alone that that's not the case) and saying that he doesn't care about stuff like making his dinner or taking in his shirts, as that's nothing compared to motherhood, and she's the best mother in the world. She looks touched at his faith in her, and he goes on that he would have given anything to have had a mother like her -- "beautiful and kind -- filled with love, like an angel." Damn, of all the people on the show I would have thought would make my eyes fill, Don would not have been tops on the list. Betty smiles, and they get down to eating.
The morning, Don's on his way out the door; the kids say goodbye, and Betty tells him they're going to the community center to watch the pool being filled. They share an affectionate smooch, and then Don leaves. Later, Betty's doing laundry as she calls to the kids not to jump off the bed. Given what you're about to do, I'd suggest they hide under it. We see the clock read one, and Betty is now sitting having a cigarette. Oh, dear. I can only think that this quick shot was included to demonstrate that she's back to sitting and smoking and letting herself go. And I'd express the hope she's more at peace with it now, but that theory's about to be, um, shot down. Cut to outside, where we see her still smoking and giving the flapping pigeons an appraising look. She then raises the kids' BB gun and starts shooting away over the neighbor's frenzied objections. So, what time's therapy tomorrow? Seriously, aside from the obvious revenge against the neighbor, I think she wasn't trying to hit them, but to scare them into not coming back, thus metaphorically giving herself, "Birdy," freedom, especially given the reversion into her housewife's identity. "My Special Angel" plays into the closing credits, and whatever the reason for that ending? Awesome.