I'm going to describe to you the sequence of events that happen next. Whether they happened in the real world, a dream world or a wonderful alternate dimension that peekaboo'd its way into ours for a few minutes, I cannot say. All I know is that Judy proceeds to select a song from the juke: "The Name Game," by Shirley Ellis. A few quick things about "The Name Game": even if you don't think you've heard it, you've heard it -- it's the "Tony, Tony, Bo-Bony, Banana-Fana-Fo-Fony" song. It went to #3 on the Billboard charts back in 1964, before America had fully grasped the concept of music. Also, in its attempts to put the rules of a child's rhyming game to song, it is remarkably convoluted and hard to follow. A better version of the song would just be "Hey dummies, copy what I do," and then launch right into the banana-fana-fo stuff, but I'm not going to tell Shirley Ellis how to do her job. ANYWAY, Jude selects the song and then turns around. Suddenly, the Briarcliff common room has become a Technicolor wonderland, with Judy herself dressed up like an extra from Promises, Promises. The star of her own fantasia, Judy performs the song to her increasingly jubilant fellow patients (Lana and Kit are weirded out by things at first, but soon they're as wildly, uncomfortably into it as everybody else. Judy gives all her pals a chance in the spotlight, from Lana to Pepper (who, tellingly, is behaving like the old pre-Algernon-effect Pepper in this fantasy) to Kit. I'm even pretty sure I saw the ill-fated Mexican lady dancing around. The whole sequence is decidedly joyous, with not even a hint of dread at the edges, which of course makes it even more effective, both as an oasis of fun on an increasingly grim show, but also in making the return to dark reality seem that much darker. But mostly, it's a goddamn hoot to watch Jessica Lange and everybody else Glee it up for a few moments of bliss.
Back in the awful real world, Lana can only repeat her question to Jude: "Do you know your name?" Jude isn't really able to respond to anything at the moment, so Lana has to tell her: "Your name is Judy Martin." Poor, poor Judy Judy Bo-Bootie.
Devil Eunice catches up with Dr. Arden out in the woods as he's wheel barrowing some godforsaken food or other to the Creatures out there. I should add that the woods in wintertime look really lovely. She's all blithely happy and bouncy and calling him "Hans," but Arden is bumming hardcore after what he saw. She assures him breezily that Howard meant nothing to her, which is of zero comfort to Arden. He starts tossing out meat chunks for the Creatures, who come venturing out of the woods to feed. Eunice has already changed the subject at this point to how she wants to perform a trans-orbital lobotomy on Judy, just for kicks. He refuses, solely on the basis that Eunice wants to do it. Not that I'm clamoring for Judy to get lobotomized, but relative to how he's behaved all season, that is a coldblooded shutting down of Eunice on Arden's part. Not as cold-blooded as what he does next though, as he pulls out a pistol and starts shooting all the creatures in the head. He even manages to shock the Devil with this one, though she's not exactly displeased. "The experiment is over," he declares, putting them all down. "It's a farce," he tells her, before pointing the pistol to the crook of his eye, right where a lobotomy needle might go. He can't bring himself to pull the trigger though, instead just breaking down in tears. He tries to explain to Eunice how crushing it's been to lose her as a symbol of innocence he could always reach for. Eunice, of course, is horrified and calls him pitiful. "Then take pity on me," he cries, clutching at her waist like a frightened child. She, of course, throws him off her, disgusted, and leaves him to cry alone in the woods among the corpses of the mutants he just killed. Boy, portrait of myself at sixteen, am I right?