"Dominique" has made its triumphant return to the common room as Dr. Thredson supervises the setup of the movie screen. Lana sees her chance and pulls him aside for a conversation, despite his insistence that he is not authorized to discuss her treatment. It's not about her treatment, though. She says she's been observing him and can tell that he's not "one of them." She needs him to get a message from her out to her "friend" Wendy. Thredson's all, "Yes, your friend who is the reason why you're in here?" Lana says if she can just communicate with Wendy, see her face-to-face, she can straighten this out. She discreetly passes Thredson a note. He gravely asks her if she's really asking him to "betray Sister Jude, who is the administrator of this sanitarium." His words kind of linger in the air for a second, before he smirks and takes her note. It's a sly moment of transgression for him... or it would be if Zachary Quinto could act.
In the kitchen -- ah, it's our first glimpse of this award-winning bakery we've heard so much about. I keep expecting to see Mrs. Lovett cross the floor with a piping hot tray of Poet. Grace and Shelley are both on duty, and Shelley starts right in on her about how she saw her and Kit conspiring to escape again and she wants in this time. After yelling at Pepper to quit eavesdropping, Shelley begins her favorite pastime next to making blunt sexual innuendoes: delivering overwrought monologues about freedom. "You think as a little girl I dreamed I'd waste my life away in the bughouse?" she asks Grace. "I want to go to Paris! France!" Oh, does Shelley ever love France, where they're 20 years ahead of the curve sexually, and where Shelley would be celebrated. The she turns into that awful person who corners you at a party and won't shut up about Delta of Venus and how it's changed her life. Grace just sort of nods and says she left France when she was nine, so she doesn't entirely know what Shelley's talking about. Shelley finally just cuts it out with the social justice arguments and simply says they could help each other. "...Please?" Oh, who could deny that haircut anything?
Sister Jude comes to Dr. Arden's office, where he's preparing the sofa bed so he can ride out the storm at Briarcliff. She tells him that Sister Eunice told her "everything" and so the two of them commence talking past each other about completely separate things. He says he admired Eunice's purity and innocence. "I never had any," he says, "even as a boy." Hmm. Puzzle pieces coming together. He rages that Sister Eunice has been "corrupted" by this place, by the patients, by "that loathsome Shelley." Sister Jude says if anyone has corrupted Eunice it's been him -- his obvious leers and perversions which have "awakened something in her that she can't begin to understand." He fires back that his feelings for Eunice have always been entirely pure -- she's the one who exposed herself to him, like a common whore. Of course, Sister Jude kind of doesn't give a shit about anything like that right now. She thinks Arden's been behind the newspaper and lipstick and general gaslighting of the past day. She, once again, has Dr. Arden's number (...hussy -- sorry, I can't not finish that phrase with that link) and she throws the tube of lipstick at him. "You don't know what you think you know!" she whispers at him. He doesn't even know what SHE thinks he knows, of course; he tells her she's coming apart at the seams and might benefit from a leave of absence. Oh, he'd like that, I bet. "I'm on to you," she says, as she leaves. Ahh, famous last words of the paranoid. Out in the hall, Devil Eunice smirks at her handiwork.