Meanwhile, Sister Jude is in her office praying to St. Jude, the patron saint of hopeless causes. This is no hollow piety, either -- this woman desperately wants guidance and a righting of her ship. Frank interrupts her with word that Lana Winters is nowhere to be found -- he can only conclude that she's off grounds. Nobody thinks to tie her disappearance to Thredson leaving the hospital just now, but okay.
Jude just looks at him with an exasperated sigh, like "Hey, why not one more thing?" She sits down and tells Frank a story from her latch-key childhood. Seems she kept a baby squirrel for company (and, like, of course your worldview is gonna be incredibly pitiless like Jude's is if you invest emotionally in bastard creatures like squirrels at a young age). One day, she came home to find the squirrel dead; she'd forgotten to feed him for a couple days. So she laid him on table and prayed for hours, but when her mother came home, she simply screamed at the sight of it and threw it in the garbage. Sister Jude says her mom worked hard and came home exhausted, so she couldn't have known how cruel that was. She wailed to her mother that God didn't answer her prayers, and whiskey-swilling Mother replies, "God always answers our prayers, Judy. It's just rarely the answer we're looking for."
Throughout this whole impeccable monologue (seriously, Lange has never been better on this show), the camera has steadily pushed in on her anguished face. She tells Frank it's all over for her. He chooses not to contradict her but instead kindly tells her not to blame herself -- men will never accept a strong woman in charge. In his opinion, she never really had a chance. Why Frank! Way to buck the stereotype of your gender and working-class station in life to show an awareness of the patriarchy!
So as Sister Jude changes out of her habit and into her street clothes, becoming once again plain old Judy Martin, Arden places a cloth over Charlotte's eye and performs that sickeningly familiar spike-through-the-eye-hole procedure that has come to represent the lobotomy in our culture. Seriously, HOW DOES THAT WORK WAIT DON'T TELL ME. The music goes all crazy Douglas Sirk as the lobotomy switches to Sister Jude applying harlot-red lipstick at a dingy bar; back to the lobotomy, back to Judy Martin at the bar getting picked up by a strange man; back to the lobotomy, back to Judy lighting up a flirty cigarette. Two brand-new women being forged right before our eyes.