Victory is tearing through boxes of still-unpacked stuff from her studio, looking for the missing sketches. Joe advises her to look to her former employees instead: "I am guessing that some of them are as ambitious and driven as you, and not nearly as decent." It's the most sensible thing anyone has said yet, so naturally Victory blows it off and gives Joe a snitty earful about how her staff was like family, which Joe clearly doesn't understand because he does deals with strangers whom he doesn't trust. Joe doesn't hold any of this against Victory; he just leaves and plans to return when she's less PMS-y. (He doesn't say that, but you know he's thinking it.) Victory already knows that Joe is right, though she didn't give him the satisfaction of hearing it; she now calls Reese and leaves a message asking her to call back. "It's kind of important," she sighs.

Wendy approaches assistant Josh with a number of requests. The main thing she wants is for him to send Shane's demo CD -- now labeled "Shane McCormick Demo" -- to David Hernandez; the other two tasks are just there to draw attention away from the CD-sending. But Wendy can't manage to be casual about it; she's actively nervous, and it's pretty hilarious. Once again, I find myself loving the Brooke. I never thought this would happen to me.

Immediately after turning this job over to Josh, Wendy drops in on Nico to tell her how nervous it made her. Nico has a harebrained scheme of her own -- one that requires her to tell Wendy that she's still in contact with former sexual-harassment accuser Kirby. Just the idea that Kirby has called Nico on the phone is so outrageous to Wendy that Nico decides to let her believe that's the extent of their contact. She explains that she feels bad for getting Kirby fired, and begs Wendy to find him something to do on a Parador movie set.