Previously: BASEBALL NUMBER!
Currently: Ever since the audition, Karen's been daydreaming her way through her not-a-waitress waitressing shifts, imagining she's performing Bondie's "Call Me" at a cabaret, with the entire "Marilyn" brain trust watching her. It's easy to peg it as a fantasy sequence, because Tom's knowing smirk towards her was too nice.
No, in real life, Tom is still stumping for Ivy, and even though Julia and Eileen have fully jumped onto Team Karen, Derek is enough of a fickle egomaniac to suddenly flip his mental processes and start advocating for Ivy, if only because he's not ready to put the whole production into the hands of a novice. Of course, he still thinks Karen's innocence and freshness is "very Marilyn" (get used to that phrasing; I expect we'll be hearing it a lot) and also that "straight guys" will totally go for her. As opposed to that dog-faced Ivy, I guess. Also: you don't program Broadway for straight guys with babes! You program Broadway for straight guys with football!
Rather than daydreaming about slowing down Debbie Harry to sultry levels, Ivy is still trudging down to the Shubert for eight performances a week. We meet a couple of her friends -- one of whom is Dennis, the guy who was making sex-eyes at Tom last week -- who offer her generic support about how great she is. BUT when Karen is the first to get a second, choreography-focused callback, we see Dennis is one of the dancers, so he gives Ivy the lowdown on her competish. The number they're rehearsing -- "20th Century Fox Mambo" -- has really complicated choreography that Karen isn't overly quick to nail. And with Derek pulling double duty as director AND choreographer of the show, we get to see him being emotionally abusive to Karen as part of his process of being a genius.
Meanwhile, Julia and Tom are still working on actually writing the show. Julia has an idea to go with a non-linear structure, which makes a good bit of sense (we already know so much about Marilyn already that we don't need a straightforward biography). She proposes moving "Let Me Be Your Star" to the top of the show (hey, just like Smash did!) and then imagines a (frankly, kind of ridiculous?) staging where Norma Jean stands at center while other women play a Greek chorus of her own insecurities. Here's hoping Derek is enough of a bastard to crush Julia's ideas on this front at least. But once again we get fantasy-sequence Karen and Ivy killing it on (this time a slowed-down) "Let Me Be Your Star."