We cut back to the '70s with an absolutely pristine recreation of an era-specific prison documentary. Actually, intentionally or not, it looks uncannily like the 1972 Geraldo Rivera exposé on the Staten Island children's asylum, Willowbrook. As we see footage from the film -- crowded, unattended, filthy, twitching patients -- present-day Lana explains that her hook for the piece was going to be finding Sister Jude among the other forgotten remnants of society's fringe there. '70s Lana mesmerizes as she flips into on-camera persona (earnest, sympathetic, outraged) and back to off-camera persona (demanding, pragmatic, all-business), making sure she's getting exactly the story she wants. She also says "the state of Massachusetts," but whatever, that was my pet peeve last week. She's interrupted at one point by Andrea Zuckerman's Husband the Intern, who tells them they shouldn't be there, but who also has no more power to remove them as he does to herd the crazies into their rooms. There are just too many people to take care of. Lana then demands to see Judy Martin and we then cut to Lana opening a cell door and approaching the twitching shell of what used to be Judy Martin inside. Jude hides her face from the camera's light as Lana tries to remind her of who she is. She tells her she's here to get her out. Finally, Judy unsteadily climbs to her feet and puts her arms around Lana. As Lana leads her out, a dazed Judy manages to squeak out, "Lana... Banana?"
Present day, April acknowledges the powerful nature of such a scene, though she sheepishly admits she doesn't recall it. Lana's like, "Because it never happened. I made it up on the spot right now. Because I am fucking goooood at this shit." Lana says that by the time she got to Briarcliff, Jude was gone. She regrets not having gone sooner. "It wasn't the ending I wanted. It was a hell of an ending, just not the one I wanted." She then smiles and tells April she's got her promo now. She then asks to take a short break to freshen up and get something to drink. April asks a crew member to get Ms. Winters a sparkling water, and when it arrives, it's handed to her by Dylan Face himself. She thanks him. He glowers at her. They've got natural familial chemistry. Oh, also, he's planning to kill her in a bit.