Mad Men
Wee Small Hours

Episode Report Card
admin: A- | 2 USERS: A-
To The Moon, Connie!
enever she pleases. The woman, however, tells Betty she needs to start things up, so she gets everyone's attention, but doesn't remember the woman's name (it's Elsa Kittridge, FYI), so intent is she on sulking. I'm sulking too, because the monstrosity is still there, although it's at least been moved so it's not blocking the fireplace anymore. But if you think Betty's being childish, you haven't seen anything yet....

... as the next day, she puts the collections into a small metal box...

...which she then drives over to Francis's office and, when they're safely alone, literally throws it at him. I mean, she didn't do a pitcher's windup or anything, but that was still a bit much. She's certainly punished Sally for less. Anyway, Betty is most displeased that she had to "watch the door all night like a sap," but Francis reveals that this was all part of his master plan -- providing Betty with an acceptable excuse to come to his office was his endgame. She's like, "Oh, right. Aw!" and they make out, but when he locks the door, she stops him, saying it wouldn't be right, doing it there on the desk or the couch. Not that she had a problem with committing adultery on a couch in last season's finale, but (a) the world was about to end, and (b) this was Captain Retro Awesome we were talking about. He suggests they get a room someplace, but when she shoots that down as "tawdry" as well, she's also talking about the whole affair. His face falls as he realizes she's the one changing the rules now, and when she apologizes, he rather glumly says he doesn't know what she wants. She wants dreams of a hideous couch and a man enacting a scene from a romance novel, not an actual person. Instead of saying that, though, Betty simply leaves, and I'm betting that's the last we'll see of Francis. And nothing against him particularly, but maybe we can devote some more attention to, say, Peggy and Joan now?

Allison buzzes Don and tells him Roger's there to see him, and Don pulls a face but tells her to admit him. There are no pleasantries -- Roger immediately tells Don that he hears Connie left in a huff the day before. "You won't even let me meet the man. What do you think Accounts does, besides limit your brilliance?" Well, I'm glad he offered one answer, because I was at a bit of a loss. It seems like, though, when Don said he didn't want contact with Roger he was referring to the Hilton account, which makes more sense at least from a practical standpoint. Don, in no mood, says he'd tell Roger, but he doesn't want to hurt his feelings. Heh. Roger, however, points out that two very important clients left there angry that week, and wonders if that's what Don wants the place to be known for. "That, and some guy losing his foot in a lawnmower?" I don't think you can do much about the second part now, Roger. People are going to remember that no matter how many successes you pull in, because it was awesome. He tells Don he's in over his head, and takes off. And point well made and all, I guess, but what I remember out of Roger the last time a client left angry was a lame joke and a declaration that he was out of ideas before turning to Don to solve the problem. In my opinion, Pete's a better Accounts man than Roger is, which, given the former is a reviled man-boy, is saying something.

At the Draper house, MLK Jr. is once again on the radio, but this time he's speaking at the funeral service for the four little girls killed in the church bombing in Birmingham. Betty comes in and, after Carla switches the radio off and Betty tells her she didn't have to do that, Betty asks what was on, and Carla, who's obviously deeply affected, tells her. Betty opines that it's "so horrifying," and offers Carla a day off, but Carla declines, although she does look grateful despite the recent tension between them. Betty sighs and says she hates to say it, but she's starting to wonder about civil rights. "Maybe it's not supposed to happen right now." I am too close to the end of this recap to get into an argument with a fictional character that existed almost fifty years ago, so I'll merely opine that making such a remark to your African-American maid is possibly a bit tin-eared. Don then arrives home, and this time Betty doesn't ask how his day was, instead saying she just put the kids to bed, and they're probably still awake. Don casts an appraising eye in the women's direction, but says nothing...

...and then we're with Sal, and oh, Lord -- he's in a phone booth in or by what looks like Central Park, calling Kitty and saying he's going to be working late. At first I wondered if he might be preparing to go see Lee Jr. and see if it's not too late to take him up on his offer, but the Central Park location and the presence of a few random guys milling about now makes me think he's checking out the Ramble, and if that's true I only hope he's careful with that suit. Also, Sal, this is not the way to look for a new job.

Don comes into the bedroom and looks like he's going to settle in beside Betty, but takes a long moment to think, and then wakes her and tells her Connie just called, and he's going in. She sleepily says she didn't hear the phone, but instead of bothering to point out she didn't wake up the last time he called, he merely smiles and then, as she falls back to sleep, leaves...

...and then he's knocking on Suzanne's door. She answers, drink in hand, and worries that someone's going to see him. His reply: "Then let me in." Fair enough, I guess. She obliges him, and after he compliments the place, big smile again on his face, she asks what he wants, and he tells her he felt like talking. Come on, Don, that's worse than the last excuse. At least you actually drink coffee. He tells her she's been flirting with him for months, but instead of denying it or getting embarrassed, she owns it, asking, "So what?" He goes on, however, that he can't stop thinking about her, and she continues to make it difficult for him but you'll notice she's not asking him to leave, either. By the way, he mentions it's been two weeks since he encountered her out running, which matches up with dates mentioned in various places throughout the episode. Looks like we're on pace to end the season in November, not that I can imagine why that's relevant. When he asks if she's been thinking about him when she's out running, she acknowledges it, but says she's also thought about how getting involved with him would play out: "I know exactly how it ends." She adds that he lives a mere two miles from there, and she sees his wife at the market and taught his daughter. "I don't think you've done this before this way." He can't deny that, but after being controlled by other people's wishes all episode long, he tells her, "I want you. I don't care." I want what I want when I want it. That's the end of her resistance, and they first make out, and then as Billie Holliday's "Prelude To A Kiss" kicks up, we cross-fade to them asleep and spooning, his arms around her, and then the credits roll.

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