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 next 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.