Claire smokes a joint. I know, can you believe it? Of course, the gratuitous close-up on her is so tight I can smell the cloves. She's back in her old upstairs studio on the Fisher premises, watching night-vision footage of a firefight. You can tell it's not an American news channel, because the screen isn't all cluttered with text crawls and the announcer has a British accent (not that that's necessarily a giveaway, of course). She politely offers the joint to her viewing buddy, George (?), who declines with real regret. "I wasn't sure if you did or not," Claire says. George says he used to, but he doesn't know how it would interact with his meds now. Claire makes an "I hear that" face and goes back to her bowl of Jell-O. Which is not a euphemism in this context. George says she can eat with him and Ruth, but Claire reminds him that she's avoiding her mom. So I guess Ruth didn't exactly welcome her back with open arms after she dumped Billy. Maybe moving back into her mom's house wasn't the best option, then. Oh, I forgot -- she's got no job, no money, and no friends, so it's her only option. Never mind. Carry on. George asks Claire to cut Ruth some slack, saying she's been through a lot lately. Like sex with George, for one thing. George comments, "I really like that piece," and he points up to a shelf where there's a bust with its face covered with one of Claire's torn-up photo-collage masks of David. Claire takes the compliment gracelessly: "Everybody wants that to be the one thing that I can do." George insists it's "very provocative, and disturbing, and beautiful. Isn't that what art's supposed to be about?" Claire gestures to the TV screen and remarks that art is "beside the point," and she's not inspired anyway. "If the muse isn't with you, the muse isn't with you," he agrees. "Exactly, George," Claire says, like the second-craziest person on the show is the only one talking any sense.