In the kitchen, Lana goes about her bakery duties with about as much enthusiasm as you'd expect. Across the way, she spots someone rolling a rack of recently dry-cleaned uniforms -- for the nuns? The staff? Are they presented in the kitchen to motivate the inmates to bake better bread? I admit I have never worked in a bakery, so I don't know the procedure there. Anyway, Lana looks at those uniforms hanging on those metal hangers and has a thought. Is she thinking about making one of those coat-hanger Christmas trees they had us make in elementary school? Probably. That's probably it.
Monsignor Howard sadly shuffles into Sister Jude's old office, where a box of her effects sits on her old desk. Inside are the usual holy accoutrements: Bible, crucifix, holy water, red silk slip. He picks up the latter, more curious than pervy -- though, seriously, hands off the merchandise, guy. Of course Devil Eunice walks in on this, feigning surprise that it was among Jude's things. "I wonder who she was fancying when she wore it?" she asks, provocatively, if not pointedly enough that Howard knows who she's talking about.
Eunice then changes the subject to Howard's papal ambitions. She lies and says Jude told her all about them, and then makes a big deal of how she couldn't agree more. Howard is purposefully abashed, trying very hard to look like the guy who only cares about saving souls. But his ambition is something the Devil would like to manipulate, so Eunice encourages him. Trying to shy him away from any self-recriminations he may be feeling about Jude's fate, she adopts a creepily accurate Sister Jude rasp as she tells him, "No time for navel-gazing. Too much to be done." She then more innocently offers herself up to him: "I'm here to serve you," she says. "I want to help you save souls. All the way to Rome."
Elsewhere, Lana is led back to her cell, and inside, she reveals the coat hanger she smuggled out of the kitchen. As a lightning storm crashes outside (I was just about to type "a bit much" before I realized what show I'm watching), Lana gets to work straightening the thing out. And, look: I realize coat-hanger abortions were a horror of mid-century America borne of our nation's institutional repression, and as such it fits in with this season's themes splendidly. Maybe my reticence is simply about the episode title, as if Ryan Murphy is standing underneath a banner reading "The Coat Hanger" and grinning like a ten-year-old who just said the "F" word. Maybe all horror doesn't get to be served with a smirk? Again, I'm saying that knowing full well that I've accepted a lifetime's worth of rape imagery from this series, and also knowing that I ended up loving this particular episode anyway. Just working out my feelings, in recap format. The best format there is for that!