Mad Men 3x9

1. - Hello? - Do you ever pray on a difficult problem?

2. Connie.

3. I had this revelation.

4. New York City is not a domestic destination like, say, Dallas.

5. I'm sorry. What?

6. You know, God speaks to us. We have an impulse and we act on it.

7. - That's very interesting. - So how do we know to do it, Don?

8. How do we know to do something?

9. Instinct.

10. So, you're just like a dog?

11. I knew the patina of the Waldorf would shine over all my domestic properties,

12. but it hasn't worked abroad.

13. I know I just gave you New York, but can you help me with that?

14. You want me to take your international business, Connie?

15. I want you to earn it. A little bit of wow, as a lady friend of mine used to say.

16. Let me think on that.

17. It sounds like pride, but I want Hiltons all over the world, like missions.

18. I want a Hilton on the moon. That's where we're headed.

19. Okay.

20. America is wherever we look, wherever we're going to be.

21. - That's very good, Connie. - You're the one who said that to me.

22. Well, I guess it's not that memorable.

23. Write up a proposal for the New York Hiltons as convention spaces.

24. Send it over to me by noon. I'll take it on the plane.

25. Done.

26. Goodbye.

27. - I'm sorry about that. - It's okay.

28. I don't think the 4:00 a.m. Feedings are over yet.

29. "I want what I want when I want it,"

30. and you don't care what it does to the rest of us.

31. Like someone else I know. Yeah.

32. Baby's up every three hours. Hilton only calls every four.

33. I think you like it.

34. What are you doing?

35. I can't sleep. I'm going in.

36. What are you doing?

37. - I'm running. - In the dark?

38. It's cool, it's quiet and no one bothers me.

39. You're wrong about that.

40. Let me give you a ride. Where are you going?

41. I'm going home, and the whole idea is to run there.

42. Well, take a break. You smoke?

43. - The Reverend Dr. Martin Luther King... - Take me up to Ross Lane.

44. president of the Southern Christian Leadership Conference, spoke at the march.

45. I have a dream that my four little children...

46. - Don't. will one day live in a nation

47. where they will not be judged by the color of their skin

48. but by the content of their character. I have a dream today.

49. Two young women were brutally murdered in their Upper East Side apartment...

50. When school starts, I'm going to read it to the kids the first day.

51. Do you think they can understand it?

52. I think they already know it, and it'd be nice for them to hear an adult say it.

53. Who are you?

54. I mean, dumb or pure?

55. Running out here in the middle of the night and I run into you.

56. - How did that happen? - What are you doing on the road?

57. I don't know. I can't sleep.

58. - Right or left? - Just let me out up here.

59. - It's a nice house. - I rent the apartment over the garage.

60. - Have coffee with me. - You'll be late for work.

61. I'm always late. It's coffee.

62. Maybe that's why you can't sleep. Too much coffee.

63. Good morning.

64. Sorry.

65. How long have you been there? I had no idea.

66. Can you get me some coffee, please? And I need you to type this up

67. and get it to Hilton before he leaves for Europe.

68. Actually, he's going to California.

69. He already left two messages on the service. Do you want me to get him?

70. - This. Coffee. Hilton. - Of course.

71. - Mr. Draper usually brings this in. - He left early.

72. - Can we go outside now? - It's raining. Go upstairs.

73. - I did not sleep last night. - Go take a nap. I'll shop in the afternoon.

74. It could either be the view of the Acropolis, or just these big columns,

75. like you're standing there.

76. Then below it, "Your window on the world. Hilton," period.

77. That window looks as old to me as those columns.

78. Did anybody look at a picture of the Athens Hilton?

79. Sliding doors don't read as windows.

80. And believe it or not, we're not allowed to pretend

81. that that's the view from the window of the Hilton, because it's not.

82. Other than that?

83. The tag is flat.

84. - Well, that one's yours. - That doesn't make it good.

85. If it's bad, don't use it.

86. What else?

87. There are 16 graphically-perfect reduced photographs of Hilton hotels all on a grid.

88. - Simple headline. - "Go. We'll meet you anywhere."

89. Now that I can finally understand you, I am less impressed with what you have to say.

90. That's your work, too.

91. - Who's we? - We are Hilton.

92. And how do I know that?

93. Take out a magnifying glass and look at one of those tiny hotels?

94. I write "Hilton" very big under this Greek.

95. There is no deadline.

96. I want to see work as you think of it. Give me more ideas to reject.

97. I can't do this all by myself.

98. - I'm telling you, it's bad for me. - What's that supposed to mean?

99. And cut! Well, I think we've finally got it.

100. I told you, you had it the first time, if that's what you want.

101. And I told you I want what you want.

102. - Where is he supposed to be looking? - Onto the horizon.

103. We want people to focus on the Lucky.

104. - This is what your father signed off on. - Let me see it again.

105. Nathaniel, again, please. Watch through the camera.

106. That's a good idea.

107. Action.

108. I just don't know what he's looking at. I want him staring right at us at the end.

109. There's a style for the draw on these spots and it's stop, inhale, 1,000-yard stare.

110. Tell me what you think.

111. I think you're the client and we should do what you want.

112. - It can make people very uncomfortable. - Walter Cronkite does it every night.

113. Let's take a risk together, shall we, Sally?

114. Going again. This time, Nathaniel, on the draw, look right in the lens.

115. It's Wednesday, September 4th, and currently 64 degrees in Manhattan.

116. We have to get a pencil case.

117. - What's wrong with your pencil box? - How was the first day?

118. I wish I could've found the camera,

119. just so we could see the difference on your face

120. from when you left this morning to when I picked you up.

121. - So, you like your teacher? - She's okay.

122. It's Mrs. Patton. All they do is draw.

123. Is this today's mail?

124. - I'll get him. - Would you?

125. You're so quiet. You must be tired.

126. I'm not tired. I really want a pencil case to put in my loose-leaf.

127. We'll see.

128. Lucky Strike, the hard-working smoke with that smooth and honest taste.

129. - Cut. - So, it's a rhythm?

130. That's true. Obviously, it'll sound better with the announcer's voice.

131. It sounded like you had a half a pastrami in your mouth.

132. It's a scratch track. I didn't know you were gonna show it to the client.

133. I know I'm supposed to stay away till the screening,

134. but I am fascinated by this process.

135. You're thinking about getting out of cigarettes and into the movies?

136. Not while my father's alive.

137. Well, if we rerecord the sound tonight, we can probably finish this.

138. I heard you the first time. I'll be in the booth.

139. I'd appreciate it if you'd forget all that nonsense I was saying before.

140. - What are you talking about? - The movies, my father.

141. - Forgotten. - Sorry, but I had a long, wet lunch.

142. - Really? Too much to drink. - And other things.

143. Secretaries nowadays, they don't give you a choice.

144. You know what I mean?

145. - I don't have a secretary. - How'd my shot turn out?

146. I'm not sure. I think it's gonna feel strange.

147. Lucky Strike has a way of doing things. Look at this.

148. Yeah, see? I don't think that's so bad.

149. Come on. He's not coming back for a while.

150. I'll lock the door.

151. - I'm married. - So am I.

152. - There's been a misunderstanding. - I know what I know.

153. Jerry should have the tracks done.

154. You can see the whole thing tomorrow or when it's done.

155. I'll probably be busy tomorrow.

156. I got it. You're at work. That's too bad.

157. - How about a nasty old alligator? - He has a point.

158. Downg Sue. I'll handle this.

159. "Henry, I'm so pleased there's a place that I can write to you.

160. "The children are finally back in school nowg and I must admit

161. "that I like the idea of looking forward to the mail's arrival every day.

162. "Well, not every day. Ha, ha.

163. "I don't write many letters anymore, so I apologize in advance

164. "if I'm unable to accurately express my thoughts.

165. "But I do have thoughts,

166. "and I suppose I wonder too much where you are and what you're doing.

167. "We've only met three times, you know that? Isn't that strange?

168. "I wish I had a clearer picture of you in my mind.

169. "Anyway, that's all I have to report. I hope to hear from you. B."

170. Don't touch it.

171. - I've seen this one. It whitens. - It's not about what you want to watch.

172. I have to make sure they run every commercial.

173. pillowcases, socks, towels, everything.

174. My mother-in-law says I look like Perry Mason.

175. It's not a compliment. It means she thinks you're fat.

176. - Crane. - Harry, it's Lee Garner.

177. I knew you'd still be there.

178. - You work hard, don't you? - For you? You bet.

179. Look, I don't want to keep you, but I have a bit of a problem.

180. - What's wrong? - It's that Salvatore fellow, the director.

181. He's no good. I'd like him gone.

182. - What happened? - Well, I can't work with him. Get rid of him.

183. - Well, I can't do that. - Excuse me?

184. No, I'm not really... I can't. Pete and Roger handle your account.

185. No, no. No, no, no, Harry. I want you to take care of this,

186. and I want you to keep it just between us.

187. Crane, you there?

188. Listen, Lee. I hope you know the commercial's turning out beautiful.

189. - You really have an eye, you know. - I do, do I?

190. - Are you enjoying the city? - I am. Plenty to do.

191. Well, you have a good night. I should get back to work.

192. - Sorry to trouble you. Good night. - Good night.

193. - What was that? - You don't want to know.

194. - I think I do. - I can't tell you.

195. Now I really do.

196. - Lee Garner Jr. Asked me to get rid of Sal. - What'd he do?

197. I didn't ask. He was drunk as a skunk and he's scary to begin with.

198. What are you gonna do, call Campbell?

199. That's the other thing. He said to keep it between us.

200. What are you gonna do?

201. I'm not gonna panic and do something stupid like I usually do.

202. - That's a good start. - I can't really do anything, can I?

203. He was really drunk.

204. The show's on.

205. Great, I missed all the commercials.

206. - Hello? - Don, it's Conrad Hilton.

207. Is it?

208. Now, don't be like that. I know it's a privilege to call you at home.

209. I don't think I've worn it out. It's 11:30.

210. - It's not a problem, Connie. - Can you come have a drink with me?

211. - Right now? - You can say no. I've heard it before.

212. And for all you know, you're not the first person I asked.

213. I'll be there.

214. Give me an hour.

215. Hello?

216. - So what is that, moonshine? - No, but it is from Prohibition.

217. I have two cases, and they both say "hair tonic" on the side.

218. I remember this.

219. I think you know I'm in a bit of a crisis tonight.

220. - I didn't know that. - I think about my business day and night.

221. And I'm a harsh critic, especially of myself.

222. And sometimes it collects, and I feel bad.

223. And then I realize maybe that's the reason I'm so Ionesome.

224. - You might be working too much. - I'm not working enough.

225. It's my purpose in life to bring America to the world,

226. whether they like it or not.

227. You know, we are a force of good, Don, because we have God.

228. Communists don't.

229. It's their most important belief. Did you know that?

230. I'm not an expert.

231. Generosity. The Marshall Plan, you remember that?

232. Everyone who saw our ways wanted to be us.

233. I'm glad you're telling me this.

234. After all the things we threw at Khrushchev, you know what made him fall apart?

235. He couldn't get into Disneyland.

236. - That's good. - You never heard that?

237. Well, I did, but when I hear you say it, it sounds beautiful.

238. I don't want any politics in my campaign. You know that.

239. But there should be...

240. Goodness, and confidence.

241. Thanks for listening to me, Don.

242. You know, sometimes I look around here,

243. and I think, "By golly, I'm King Midas."

244. Stop it. You're not.

245. You're my angel, you know that? You're like a son.

246. In fact, sometimes you're more than a son to me

247. because you didn't have what they had,

248. and you understand.

249. Thank you.

250. I mean it.

251. Come in, come in, come in.

252. I drove all the way down to get the mail, and then I turned around and I debated it.

253. - I went past the exit a dozen times, and... - My girl is due back.

254. I know I shouldn't be here.

255. It's just, I wanted to see you.

256. I wasn't thinking.

257. - What do I say? Why are you here? - There you are.

258. Carla, this is Henry Francis. He works for Governor Rockefeller.

259. It's nice to meet you.

260. So anyway, I think this is an excellent venue for a fundraiser.

261. - Good. I'll have to check with my husband. - Of course.

262. Carla, will you show Mr. Francis out? I think I left the bath running.

263. - A pleasure to meet you. - You as well.

264. I can't get this. Lucy, do you mind?

265. Jesus, knock it off.

266. It's a Lucky Strike commercial. It's got three cuts in it.

267. So the hillbilly says, "That ain't my finger."

268. I'm gonna have to hear the beginning of that joke.

269. Lee? Lee!

270. - What's going on? - I have no idea.

271. Does someone know what's going on? Speak up.

272. I know.

273. Lee Garner Jr. Called me a couple of days ago. I'm sorry.

274. - Why is he calling you? - I don't know.

275. - He did, and he told me to get rid of Sal. - What?

276. And you made an executive decision to do nothing?

277. He was really drunk. I thought it would blow over.

278. I didn't even think he'd remember.

279. When you get in trouble, you call Mommy and Daddy.

280. He told me not to tell you, so what was I supposed to do?

281. Everyone's an account man. What exactly do you think we do here, Crane?

282. We handle clients.

283. - He wouldn't say a word. He just left. - Sal, you're fired.

284. - Are you serious? - Lee Garner Jr. Wants you fired.

285. We're gonna find out what he wants to do with you, imbecile.

286. - Oh, God. - What the hell happened?

287. What is going on?

288. Now, you're gonna use your dying breath to tell Don to fix this.

289. - Don? - Lee Garner has a problem with creative,

290. let Don solve it. He does it all now anyway. Now!

291. - What did Lee say to you? - Nothing. I have to talk to Don.

292. - Let me talk to Don. - I'm doing as I'm told. Is he busy?

293. I can see you and I can hear you. What do you want?

294. Who died?

295. - I screwed up with Lee Garner Jr. - What?

296. - How do I explain this? - He told Harry to fire me.

297. - Harry? - I didn't, but now Roger did.

298. - Roger did what? - He fired me.

299. Roger said to tell you to fix it. Those are his words.

300. Fantastic.

301. That's a $25 million account you stuck your nose in, Crane.

302. Just get out.

303. What happened?

304. Lee Garner got drunk, and he told Harry to fire me,

305. and then Roger got angry and he did. I think if I get away from Lucky Strike

306. and lay low from Roger for a day or two, everything will be fine.

307. I understand what just happened. What happened with the cut?

308. - The commercial's fine. - Sal, something must've happened.

309. I can't help you unless you tell me.

310. - We had a misunderstanding. - Jesus. I'm not gonna ask again.

311. He was drunk, and he cornered me in the editing room.

312. - Cornered you? - Yes.

313. And I backed him off, I told him I was married,

314. and he was embarrassed and he left.

315. - You must've been really shocked. - I was, believe me.

316. But nothing happened,

317. because nothing could have happened because you're married?

318. - Don, I swear on my mother's life. - You sure you want to do that?

319. Who do you think you're talking to?

320. I guess I was just supposed to do whatever he wanted?

321. What if it was some girl?

322. That would depend on what kind of girl it was and what I knew about her.

323. You people.

324. I didn't do anything but turn him down.

325. He's a bully.

326. Lucky Strike can shut off our lights.

327. I think you know that this is the way this has to be.

328. You'll do fine.

329. Get me Lee Garner Jr.

330. I said I don't want salad.

331. Watch your tone, young man. Carla works for me, not you.

332. - What do you want instead? - You might as well call it a day.

333. Okay. Thank you.

334. - Hi, Daddy. - Hi.

335. How was your day?

336. Not good.

337. I didn't want to bother you with it, but that man dropped by today

338. from the governor's office. Carla met him.

339. Francine sent him over here.

340. They want to have a fundraiser, but her house isn't big enough.

341. I don't care, as long as I don't have to go. When is it?

342. Well, I should be going.

343. Soon. Next week, I think.

344. - A fundraiser for Rockefeller. - For the campaign.

345. - I'm gonna go lay down. Good night, Carla. - Good night.

346. - Good night, children. - Good night.

347. Bye.

348. Good night, Mrs. Draper.

349. If you're here, do I have to be here? Because I'm leaving.

350. - No, go ahead. - Good night, boss.

351. - Henry Francis. - Hello. I thought I'd get the service.

352. This is Betty Draper.

353. I know that. Listen, I shouldn't have come by like that.

354. - I hope I'm not calling too late. - No, you're not.

355. I checked with my husband about the fundraiser.

356. - The fundraiser? - Yes, we'd be glad to do that.

357. How's Tuesday the 17th? Can you make it then? Is that good for you?

358. Okay. I guess you're going through with this.

359. I had to.

360. I'll have my girl call you tomorrow to make it official.

361. I look forward to it. Let me know what's usually provided by the host.

362. Sure.

363. Goodbye.

364. Good night, Betty.

365. Rome, Tehran, Tokyo are magnificent destinations,

366. and that's really been the focus of almost every campaign you've had

367. up till now. How to lure the American traveler abroad.

368. What more do we need than a picture of Athens to get our hearts racing?

369. And yet the average American experiences a level of luxury

370. that belongs only to kings in most of the world.

371. We're not chauvinists. We just have expectations.

372. Well, now there's one word that promises the thrill of international travel

373. with the comfort of home. Hilton.

374. "How do you say ice water in Italian? Hilton."

375. "How do you say fresh towels in Farsi? Hilton."

376. "How do you say hamburger in Japanese? Hilton."

377. "Hilton." It's the same in every language.

378. Maybe fried chicken. I don't like the sound of "hamburger" and "Hilton."

379. Besides, "hamburger" is already a foreign word.

380. We'll see.

381. It's good. Very good.

382. It's clever, yet friendly. Draws you in.

383. But what about the moon?

384. - Excuse me? - There's nothing about the moon.

385. Well, right now, that's not an actual destination.

386. That wasn't the point. I said I wanted Hilton on the moon.

387. I couldn't have been more clear about it.

388. Well, I'll admit I misunderstood that. I'm sure there's a way to fit that into this.

389. Well, isn't this something?

390. I'd like to speak with Don in private.

391. This is a good campaign, one of the best.

392. It's modern, it's witty, it's eye-catching. It will change your business.

393. Calm down. I'm going to speak very honestly with you.

394. I don't think folks do that often. Probably scared.

395. Or they trust my work.

396. You want me to just say yes to everything you do?

397. Most ad men believe that clients are the thing that gets in the way of good work.

398. I've never experienced that.

399. You did not give me what I wanted.

400. I'm deeply disappointed, Don.

401. This is a great campaign.

402. Fine. What do you want from me? Love? Your work is good.

403. But when I say I want the moon, I expect the moon.

404. - I said if he ran, I'd support him. - I haven't decided yet.

405. I voted for Kennedy. I'll probably vote for him again.

406. What a nice turnout.

407. - Where's Henry Francis? - I don't know. Someone's supposed to talk.

408. I don't know anything about Rockefeller. That's why I did this.

409. Well, I want to know how he's gonna deal with the South.

410. Do you know how bad it must be for the negroes

411. to descend on Washington like that just to be heard?

412. Segregation is uncivilized. It's that simple.

413. You know what my father says about the South? "It's not 1963, it's 1863."

414. Thank you.

415. Mrs. Draper, I'm Elsa Kittridge and I work with Mr. Francis.

416. Pleasure to meet you. I assume he's been delayed.

417. Actually he asked that I address the group on behalf of the governor.

418. That's disappointing.

419. I mean, I don't think it's going to help your fundraising

420. when you promise one thing and deliver another.

421. Well, perhaps you're right,

422. but he seemed to think I was a better match to the group,

423. and I am extremely informed.

424. In fact, I'm the person who briefs Mr. Francis.

425. I think you'll see I won't embarrass you in front of your friends.

426. - Please, begin whenever you want. - No, you begin, dear.

427. Excuse me, my name is Betty Draper. Welcome to my home.

428. - We're going to listen to... - Elsa Kittridge,

429. Associate in the Governor's Information Office.

430. First I would like to dispel the rumor that there is a mandatory contribution tonight.

431. This is a taking of a pulse, an exchange of ideas.

432. Please see that we're not disturbed.

433. Hey!

434. Mr. Francis, do you need anything?

435. - No, Marjorie, I dropped something. - Where were you last night?

436. - Calm down. - Why didn't you come?

437. Why did you send that woman?

438. - I watched the door all night like a sap. - I'm sorry, but I wanted you to come to me.

439. - The ego. - Would you listen to me?

440. - You had to come to me. - And why is that?

441. Because you're married.

442. No, Henry.

443. What's wrong?

444. Please. We're locked in this office.

445. What? On the desk? On the couch?

446. - We should get a room somewhere. - No.

447. It's tawdry.

448. I'm sorry.

449. I'm very sorry. I started this.

450. I don't know what you want.

451. Goodbye.

452. - Mr. Sterling's here to see you. - Send him in.

453. I heard Conrad Hilton left this building in a huff yesterday.

454. Who told you that?

455. You've got your face so deep in Hilton's lap, you're ignoring everything else.

456. - Everything's under control. - You won't even let me meet the man.

457. What do you think accounts does, besides limit your brilliance?

458. I'd tell you, but I don't want to hurt your feelings.

459. Keep joking about it.

460. We've had two clients in one week leave here angry. Important clients.

461. Is that what you want this place to be known for?

462. That and some guy losing his foot in a lawnmower?

463. I want to put you on notice, you are in over your head.

464. These childreng

465. unoffending, innocent and beautiful,

466. were the victims of one of the most vicious and tragic crimes

467. ever perpetrated against humanity.

468. You can leave it on your station. I don't mind.

469. - It's all right. - What was that?

470. The funeral service for the little girls in Birmingham.

471. It's so horrifying.

472. Are you okay? Do you need a day off?

473. No, I'm fine. Thank you.

474. I hate to say this, but it's really made me wonder about civil rights.

475. Maybe it's not supposed to happen right now.

476. - Hello, Mr. Draper. - Hello.

477. You just missed bedtime. They're probably still awake.

478. No, don't bother with dinner. We got Chinese takeout.

479. Listen, Marty needs me to look over this work.

480. Don't wait up for me.

481. I love you, too.

482. Betts.

483. What?

484. Hilton just called. I'm going in.

485. I didn't hear the phone.

486. Go back to sleep.

487. - Someone's going to see you. - Then let me in.

488. This is nice.

489. What can I do for you?

490. I don't know. I wanted to talk.

491. Right. Says the man as he unbuckles his pants.

492. What do you want me to say? You've been flirting with me for months.

493. - So what? - So, I can't stop thinking about you.

494. Because I'm new and different. Or maybe I'm exactly the same.

495. Tell me you've run past that stretch of highway in the past two weeks

496. and not thought of me,

497. not looked for me.

498. But then I have the luxury of that last half-mile home

499. where I go through every step of the future until it ends.

500. I know exactly how it ends.

501. So what?

502. You live two miles from here. Your daughter was my student.

503. I've seen your wife in the market.

504. I don't think you've done this before this way.

505. I want you.

506. I don't care. Doesn't that mean anything to someone like you?