Ray takes Jemma to his house/tent. She sleeps over and Ray thinks they are in love, but he wakes up with money beside him instead of Jemma. He calls her and asks her out on a real date. She accepts. Then, she stands him up.
Distraught from her crumbling relationship with Ray, Tanya gets plastered at a bar. A guy named Pierce chats her up and she tells him her problems. She asks him if he's "real" and he suddenly kisses her. She takes him home and finds out that he's a photojournalist. She tells him that she has had writer's block for two years. She tells him that she thinks her mother is the reason for her block. So, they go to her house. She is played by Rhea Pearlman and she is a beast. Tiny arrows shoot out of her tiny mouth every time she opens it. Later, Pierce argues that her mother is the source of her work, not the blockage. They are at a bar and Tanya overhears Floyd buttering up a potential student. She calls him out for being a fraud and tells him to eff off. She and Pierce bake some cookies and crash Mrs. Skagle's Friday potluck of academics and artists. She's predictably belittling, but Tanya decides to read a poem that she wrote. I don't really know poetry, but it seems really not very good. A Ugandan woman sings after her and Tanya feels upstaged and runs out crying. She says that her poem sucked and Pierce agrees, but congratulates her for writing again. She says that she wrote the poem she read when she was 14. The next day, Tanya is inspired by some dust in the sunlight and keeps on writing.
When Ray tells Tanya that Jemma paid him directly again, she says that he's trying to undermine their success. He calls her a bad pimp again and she tells him that, if he knows so much about it, he should line up some new clients himself. He tries flirting with people and everyone thinks that he's a creep. He eventually tries to pick up… Jessica. She tells him that he should drop by the house for dinner. He calls Tanya and tells her that he appreciates all of the hard work she puts into their project.
At his house, Mrs. Koontz invites him to her house to take a hot shower. He accepts and she walks in on him naked, remarking that he has a beautiful penis. Without him even really trying, she offers to become a client. So, they begin their, um, work together. It's loud. Afterwards, Mrs. Koontz says that she'll make sure that Ray doesn't get any more citations, but she doesn't offer to pay him.
It's nighttime and Ray is leading Jemma to his pier, with his hands over her eyes. She says that she hopes this is not the part where he hacks her up and buries her -- because she's not wearing the outfit she wants to die in. Jemma is hard for me to figure out. It seemed that she sought out Ray's services as a way to heal old wounds, but the more we've gotten to know her, it's not evident that she has any deep feelings capable of wounding. He reveals his tent and house and property and she seems underwhelmed. I don't know what he was expecting. He invites Jemma into the tent and she asks why they can't go in the house. He merely says that he lives in the tent. Great, make yourself sound like Howard Hughes without money. This is really going to work for you.
Meanwhile, Tanya is getting drunk in a bar. A guy across the bar says "Marcel Proust!" but she doesn't seem to understand what he's saying. He's talking about the tattoo on her wrist. She replies that she should have gotten Sylvia Plath's name instead. Poor Tanya. She tells him that an ugly man told her that she wasn't ugly. A really ugly man. Floyd's a dork, but not technically that ugly. The guy keeps smiling at her and she drunkenly says, "You're not real, are you?" Man, I love her. He moves to the barstool beside her and kisses her. Then, he tells her that his name is Pierce.
Ray is making out with Jemma in his tent. He VO's that now things are real between him and Jemma. He's giving her Big Donnie and she's saying that he's unbelievable. The next morning, he wakes up next to... a pile of cash. No Jemma. He goes to Tanya's house and knocks on the door. She seems annoyed to see him. Good for her. She's taken a lot of shit from this guy. He hands her some cash and says that it's her cut. She's pissed that Jemma paid him directly again and says that she's being undermined at every turn. She tells him that now is not a good time for company and tries to close the door, but Ray stops her. He says that he doesn't think that Jemma should be a client anymore. He wants her to be -- Pierce calls out to Tanya from the kitchen and asks if he can use her eggplant. Ray give Tanya some sort of look and she rightfully is like, "What?' Anyway, he wants Jemma to be his girlfriend. Tanya steps outside in order to not be heard by Pierce and asks Ray how he expects their business venture to work if he constantly undermines her efforts. Second use of undermining in this scene. If I were doing a close reading of the script, I'd say that someone's worried about being undermined in her life. He gets defensive and says that she can't even launch a viral marketing campaign without leaving a phone number. I'm reaching out to you readers. I'm not sure what that means. Did she leave his phone number somewhere? She suggests that he line up some clients himself and give her a call when that has happened. Then, she goes back inside. Ray yells to her inside that he can totally do that.