We’re gonna backtrack a little here and do some Not-So-Live-Blogging of earlier episodes. We started doing these at the beginning of S2, so it will be fun (let’s hope) to go back to fill in the blanks and get some BoK perspective going on the oldies-but-goodies.
Definitely cheating by starting with Numero Uno on my own personal Top 10 “two years running” but why not start at the top?
At this point in S1, we know a little about Dick Whitman, Adam, and Don’s dingy roots. We know about Joan and Roger, and both their tickers were still working. Midge is still in the picture, but we’re about to see Don’s first kiss-off.
Pete and Peggy have shared the lovers’ embrace but once “it is the East, and Margaret is the sun!”
Alright, popcorn’s hot, previews are done, we’re ready to roll
PETE’S OFFICE
He’s horny. She’s vulnerable. Sparks fly. That pony-tail pull really resonates, don’t it?
“Listen. Maybe this isn’t the right time to mention this, but ” Can you choose poorer words right after sex?
“I wake up in the morning, and I look into Trudy’s eyes, and I think ˜We’re supposed to be one person.’ But whatever I try and These things going on in my head. She’s just another stranger.”
“Pete, you’re not alone in this.”
I think two things when I watch this exchange:
a) This is why everyone thinks/thought that Pete and Peggy will always be star-crossed lovers, or be always a furtive glance away from getting it on; and
b) Pete and Trudy have done a brilliant 180 from this point. I’m not forgetting about the the Uh-Au Pair a dog is a dog, and Pete’s a dog. But emotionally, it’s all changed. Pete would never say this line of dialog in Season 3. He might be wookin’ pa nub with the neighbor’s babysitter, but he’s no longer this confused soul calling his wife a stranger.
MW has said often (esp during S3-related interviews) that he wants viewers who watch earlier seasons to say “Who are those people? They’re so different from the way the characters on the show are now,” because that’s how real life is. I think this is an excellent example of that.
She grabs an empty folder “ always thinking, that Peggy.
“Sorry I ripped your blouse.”
“It’s okay.” That’s sexy.
S-C SWITCHBOARD
Do we know if this is Bryan Batt speaking Italian? It doesn’t sound like his voice.
Ah, Lois Sadler what the future holds for you, my dear.
See, they won the John Deere account, and the British were visiting, and oh, right “ S-C was bought by an English firm, and there’s this guy Duck Phillips, and there was this party oh, forget it, just buy the damn DVDs.
OUTSIDE COOPER’S OFFICE
There’s something funny about a grown man waiting to enter another man’s office in his socks.
COOPER’S OFFICE
“Atlas Shrugged. That’s the one!”
“Yes. Yes it is.” Which is another way of saying: “Ahh, Bach!”
ART DEPARTMENT
Sal’s vest is decorated with fleur-de-lis Bryan’s from New Orleans. (ED: I wrote that completely on my own, and then something led me to search “fleur-de-lis” on The Basket and found it’s already been mentioned. Rats.)
“Ciao! Ciao!” There’s this cheesy Italian music playing underneath as Lois leaves.
“I had the salesman pushing this tie on me for 20 minutes. I’d have bought it right away if I knew it worked.” I know this has been discussed here somewhere, but this whole exchange is such a gay-man’s tell
Going back to when Lois departs Sal does this exaggerated masculine strut back to Dwayne’s drafting table then the tie comment, which as previously mentioned, was probably a harmless boy-boy flirting thing at the counter then the dramatic exit: “You don’t need money to dress better than you do, Dwayne!” Throws the folder with a flourish. And this was decades before “three-snaps-in-a-Z-formation”.
PETE’S OFFICE
Whiskey on the rocks. Feet up on the desk. Guess who just got laid?
S-C CONFERENCE ROOM
“I only see one lipstick in your drawing.” Don knows what’s coming.
“You’re a non-believer. Why should we waste time on Kabuki?” A million American salespeople just got up and cheered.
DON’S OFFICE
One of the best scenes in the entire series. You just know that Matt and crew love these “writers” moments “ like the “I hate when that happens” scene, and Peggy coming up with the Rum idea while high I see these all as a set.
“Oh my God. Can I see it?” Makes you realize just how lowly she is. She wrote the copy, created the hook for their entire pitch, and never saw a thing along the way.
“You may be a writer, honey.”
“Really?”
“You’re arrogant.”
“You want another drink?”
“I don’t know.”
Together “Not a writer.”
“Can I keep it?”
“No.”
I smile watching it. I smile typing it. And I think they smiled writing it. There’s real soul here, and it shines all the way through.
BREAK ROOM
“What are you doing? Don’t ever put your name on a list. They keep track of everything we do here. Have you never heard of Joseph McCarthy?”
“It’s the bowling team.” Ha!
Joan: “I’m going out. Don’t look for me. I have errands to run “ Roger and Joan are playing Bill and Monica.
Joan watches the whole “they sold my copy” exchange
PETE’S OFFICE
“Yes I hear you’re quite the little scribe.” Was there ever a time we didn’t think Paul was a douche?
MIDGE’S APARTMENT
That dingy door. No detail unchecked.
Fez boy opens the door. Don looks around. It’s fun in those rare moments when we see Don thrown off by the smallest things. Deb’s recent “Don Speaks Carefully” post reminded me of this. He’s going to the Village to get laid and then go back to work. He’s planned it out (even if he didn’t tell Midge “ but that’s because he was surprising her with a trip to Paris), figured all the angles. But then this doofus answers the door. He’s thrown, but keeps cool. This actually is great acting.
Roy’s re-entry to the story is brilliant, too. He’s the frenemy before it was a word.
“We’re going to get high and listen to Miles.” No way to deliver that line and not sound preposterous.
This show is great at putting its lead fish both in and out of the right types of water. We know how self-conscious Don is, so it’s fun to see him surrounded by the beatniks and their ogling eyes.
“Did you like it?”
“I feel like Dorothy. Everything just turned to color.”
“Words. You are good with words, man.”
“Well put.” Never content to just let a good line lay there always the capper.
“Kimmy. Why don’t you make yourself useful, and make me a glass of water.” So with one line, they draw a connection between the two worlds. Blacks might be accepted socially, but women still exist to make men comfy.
WHITMAN FARM
My first thought upon re-watching this is why is Don having this flashback now? What’s the trigger. Then I realized it was the Dorothy comment. Although it’s not Kansas, it may as well be.
“Look around ya’. We’re not Christians here no more.”
“That’s not true.” Can’t figure out what this means. Was it just Archie’s way of getting the guy to go away, or is the religious reference otherwise meaningful?
“Dick Whitman! Stop digging holes! Build a fire under the cauldron.” Some metaphor. Really brilliant.
I’m fascinated with how easily people discussed Communism back in those days. Like, “Hey are you a Communist?” “No, are you?” “Nah, three Communists live down the street, though.” Makes you realize what the social and political environment was like back then. My neighbor could be the Unabomber and I wouldn’t know.
ROOSEVELT HOTEL BAR
“When I mentioned the renovation, I didn’t know if you heard me.” Good thing Kurt hasn’t started yet.
” building after building. It’s little compartments filled with possibilities.” Kinda like closets.
PJ CLARK’S
Another one of the show’s best scenes ever. The amount of information and plot that takes place in such a compact space and period is astounding.
Peggy’s dancing with her mentor, Fred.
Paul asks Joan to dance. And dance she does. This 10-seconds or so is mind-boggling. Just watching her is pure pleasure. She’s dancing with just her eyes and her face. Christina Hendricks is a miracle, and Michael Gladis lets her steal every moment of it, as he should. If you need to ask, please leave The Basket immediately.
The only time you’ll ever see Freddy Rumsen spill a drink.
Chubby Checker’s The Twist comes on. Peggy dances with everyone. This might be the highlight not just of her day, but of her entire life. The term Cloud Nine was invented for these moments. She’s the hero at work. All these pairings and relationships are buzzing around her. She’s flush with accomplishment. She goes up to her newly anointed “ though illicit “ crush to ask for a dance.
“I don’t like you like this.”
He obliterates all her joy like a lion with a superficial wound. It’s petty and as mean as anything Pete has ever said. At this moment, he’s a monster. Only a monster could treat another person this way. I think whatever physical signs of pregnancy that were beginning to manifest in Peggy this is the moment she rejected the thought subconsciously and the walls of denial and suppression began to form. Right there at PJ Clark’s.
ROOSEVELT HOTEL RESTAURANT
Back to our bromance.
“You’re loud, but you’re shy.”
“I feel like I’m having my fortune told.”
Like the earlier tie salesman comment, you get the feeling Sal likes these encounters “ even encourages them. He knows all the signs, the codes and symbols. But I don’t think he wants for one moment to act on them. It’s like 3rd grade flirting “ exciting and fun as long as it doesn’t go anywhere.
But Elliot is another creature. He’s been there and back.
“I mean about my view. It’s all the way to the Park. Of course it’s dark now.” Smooth.
“I know what I want. I know what I want to do.”
“I know what you’re thinking. I’ll show you ”
This might be the single best “ best written, most honest, best acted “ scene between two gay characters ever on television. Really amazing.
MIDGE’S APARTMENT
“You make the lie. You invent want.” Wonder if this is the scene they show to advertisers to sell spots.
By the way, I love Midge.
“The cops. You can’t go out there.”
“You can’t.”
Kinda just piecing this together now, so stay with me
- Young Dick meets the Hobo (a vagrant), who teaches him about life
- Don, we will learn, internalizes the information to the point of adopting the Hobo’s philosophy with the veneer of social acceptability
- Don puts the beatniks down for their empty moralizing “ message: if you’re gonna judge me, you better have the credentials
- The beatniks have chosen to point fingers, but remain trapped by their appearance and lack of responsibility (“You can’t go out there.”)
- Don’s respects the Hobo for living his philosophy and not being trapped
- Don took a different path, but is no less true to the creed. He can go out there.
Might just be blowin’ smoke up my own rear end, but I think that holds.
DRAPER HOUSE
I miss all the old Bobby’s.
WHITMAN FARM
Okay, so Dick looks at the gatepost after the Hobo leaves and finds the “Dishonest Man” sign. I remember some discussion about whether the sign was there before the Hobo arrived or if he left it himself. I don’t remember if that was ever conclusively argued, but I’m thinking it was there before he arrived. I noticed on this viewing that the sign was carved into the post, and we know the Hobo carried chalk. If they wanted to show it was the Hobo’s work, they could have shown the sign written in chalk. No?
Anywho The Hobo Code is a masterpiece. Pure and simple. A Rembrandt. Thanks for watching.
16 Responses to “Not-So-Live Blogging "The Hobo Code"”
Sorry, the comment form is closed at this time.
"My first thought upon re-watching this is why is Don having this flashback now? What’s the trigger. Then I realized it was the Dorothy comment."
It's also Don's reflection. There's a reason why they cast an actor who looks so much like Jon Hamm to play Archie Whitman. Don looks into the mirror, and through the haze and detachment of the pot, he sees his father's face.
"'Look around ya’. We’re not Christians here no more.'
"'That’s not true.' Can’t figure out what this means. Was it just Archie’s way of getting the guy to go away, or is the religious reference otherwise meaningful?"
Well, Archie is basically saying, "How could anyone still care about God and doing good for others in times as bad as these?" and Abigail is like, "Speak for yourself, heathen. I still do." He's all about tearing away the veil of courtesy and consideration, and she's all about making a show of how holier she is than thou.
Encounters with cops have played a role on the show. In "The Hobo Code" it's the cops Don blows right by. Later on, it's the cop he deals with after his accident with Bobbie. Betty has her own encounter when Gene dies. And didn't Gene refer to cops in playing with Sally and one of the Bobbys?
I wasn't sure about the Italian either so I asked him. It's definitely him.
Bryan is very good with voices. If you want to hear him really having fun with them, pick up "Forbidden Broadway Cleans Up Its Act" and "Forbidden Broadway Strikes Back" – 2 Off Broadway shows he did in the '90s that spoof Broadway. They're very funny & Bryan is fantastic in them.
B Cooper, your not-so-live blogs always make me think and smile at the same time. Upon initial watching a few years ago, I didn't realize what a seminal episode that this really was. I especially never could completely figure out Pete and Peggy's relationship dynamic at the time, but as the series continued to unfold it made more sense. That's one of the things I love about this show and is unique…the plot development doesn't always hit you like a sledgehammer. LOVE all your insight and please continue!
Also, who could not love a post with a Buh-wheat reference?? I don't know what made me giggle more: Pete's "wookin pah nub" or your comment that you "missed all the old Bobbys" LOL!
Great insight.
Upon rewatching, I became sure that the Dishonest Man sign was old. It was overgrown with weeds, and the Hobo didn't see it, which is why he approached. That is, if it wasn't overgrown, this Hobo would have known better.
Great post. I never would have connected Don Draper with Radar O'Reilly from MASH (“Ahh, Bach!â€) but you are right, Don Draper is as unsophisticated as Radar O'Reilly in many ways because of his upbringing. Thinking back on the show, Don has had quite a few "Ahh, Bach!" moments. Moments where he has no idea what the other person is talking about. No wonder he is wound tighter that a violin string most of the time.
Oh, and the Dishonest Man sign? It is definitely old. The fence is weather worn so if the carving had been fresh, the wood in the cut would be a different color that the wood surrounding it.
Not-so-live-blogging 2 years down the road? Really, Coop? LOL.
As always, great insights. I think they should play musical Bobby's like they did with Murphy Brown's secretary or the rotating Becky's on Roseanne.
I, too, love (and miss) Midge. She had me with "You think I'd make a good ex-wife," but then topped it off with the brilliant "I don't make plans and I don't make breakfast." Have used those very words very often.
#6 La Peregrina, that's because Don has an incomplete education. He can bluff his way through much of the time, and he has educated himself in a number of things, but some simply stump him.
He’s all about tearing away the veil of courtesy and consideration, and she’s all about making a show of how holier she is than thou.
I think Abigail is sincere about her religion. She does, after all, take in the hobo and offer to give him a meal and money (and clean clothes) in return for work – things which surely were in very short supply in the Whitman household. She shows mercy, and it doesn't strike me as hypocritical at all on her part.
As for the comments about communism – communism hadn't yet been turned into the all-purpose bogeyman it is today. That would have to wait until the redbaiting of the late 40s and early 50s. In the 30s, plenty of people actually were "card carrying communists" and weren't afraid to show it. (Remember, Stalin was our ally all the way through WWII.) So, it's very likely that the Whitmans did indeed know some neighbors who were members of the communist party.
One more point, about Don not knowing about (or seeming not to know about) Atlas Shrugged. The book was published in 1957, and was not particularly popular, as I recall. Rand's Objectivist movement didn't have the large cult following it has today, so it's very conceivable to me that even an educated person wouldn't have too much awareness about the book. Not to take away from the larger point about Don's process of self-education, but this one doesn't strike me as a particularly strong example of it.
Amending my point above (slow day at the Howell house):
My initial reaction to Don saying "Yes. Yes it is" in regard to Atlas Shrugged was more along the lines of "[eye roll] Sure Bert. Whatever you say. [eye roll]" than "I don't know what you're talking about.
But that's just my take on it. YMMV!
#8 Brenda, agree completely.
Love the "M*A*S*H" reference. This is one of my favorite episodes. The scenes with Sal are heartbreaking, especially those with Elliot.
Funny – I just watched this episode again yesterday!
What struck me on watching this again is how much content was packed into this episode. Somehow I remembered the smoking up and flashbacks but had attributed the Pete/Peggy interactions and Sal/Elliot storyline to other episodes.
I hope that in season 4 they bring back Midge and Rachel in flashbacks… Such good roles/actresses!
It seems everyone forget the best line in the episode (certainly in the running for best in the series):
"I hate to break it to you, but there is no big lie, there is no system. The universe is indifferent." – Don Draper
re: Peggy rejecting pregnancy
Just rewatched this episode today and noticed that when Peggy leaves Pete after asking him to dance she puts her hand to her stomach as she turns and walks away.