Betty appears in the kitchen to find Henry and the three kids dressed in funeral attire and it's fairly obvious it's a dream even before we focus on the tea leaves in the cup in front of Gene. Pauline silently enters with pancakes as Henry mutters the single word "If" over and over and then Sally makes it clear even to Betty what's going on as she gets up and turns Betty's chair over and puts it up on the table. This show really should stay away from David Lynch territory, but at least this was much briefer than the disaster of "The Fog." Getting It, Betty apologizes to Sally, presumably for leaving her, but her words fall on deaf ears...

...and then Betty awakens next to Henry. An overhead shot lets us see what might be a new determination in her eye, although that could simply be due to the break in her dry spell.

Despite what I said earlier, Don's chilling with a drink (you can see a poster for Joan Baez hanging next to him and I think she is even less likely to shill for Heinz than the Stones) when the girl returns; Don asks if she thinks they're going to show and she tells him to relax, but he's actually worried about her in a rather fatherly way (with the youth culture here serving to define him generationally), and doesn't want her giving it up to some rock star at her age. It's too bad "Sister Christian" hadn't been written yet, because I'd love to hear him sing it to her. She does look moved by his concern, but the moment is trod upon by Harry excitedly appearing with a contract and saying that "they" were super-excited to do it. It's indicative of how useless the show knows Harry is that it can't let us think for more than two seconds that he's done something right before a furor in the other direction lets us know that whoever Harry was talking to, it was not the Rolling Stones or anyone affiliated with them. Harry hangs his head, but Don can't resist a good line when it's at Harry's expense: "Who were you talking to?"