She rants on the phone to Tom that Peter wants to change everything, and says that Russell Crowe and North Korea are more collaborative than Peter. She says she's going to go to Eileen and tell her no way are they working with the parasite. Tom's all, good, try that, and in the meantime, he has a plaaaaaan.

Kyle is obsessing over his little slips of plot paper while Jimmy, smoking up, lounges on the couch in their disgusting moldy-walled faux Greenpoint slum and says he's like the guy in A Beautiful Mind. Was the drinking game in the writers' room see how many times you can mention Russell Crowe in this episode? Oh God, if he shows up and sings, there will not be enough wine in the world. Kyle tells Jimmy there are gaps in the plot and they're not ready for the meeting tonight, so Jimmy gets up and rearranges everything for him, asking Kyle what happened to the version they worked on when they were wasted on the Fourth of July. Kyle thought it was on his computer, but apparently Jimmy left it in a notebook Somewhere in the Past That We Shall Not Speak Of Until Sweeps.

Karen arrives at the rehearsal space and reminds Derek about the meeting with Kyle and Jimmy after rehearsal. She pauses and says she was starting to think she'd never be Marilyn again, and although the world would be a better place, Derek says he wouldn't let that happen. Good God. Why am I sober. Derek's phone rings; it's Ronnie. She says one of the producers of The Wiz is in town now and Derek asks her to bring him over tomorrow to see a number from Bombshell. (Because that will prove he can do a family-friendly show with a singing lion? [Although the movie version of The Wiz starred Richard Pryor as the title character. Just how family friendly does this show really need to be?]) She agrees and Derek tells Karen and the assembled dancers that tomorrow is way more important now, because it affects Derek's life. Karen starts singing "They Just Keep Moving the Line" and it blurs into Ivy, on tape, singing the same song at the workshop.

Ivy arrives at Tom's house, where he's watching the video, and he tells her he wanted to be inspired by the original spark for the show. He hands over a CD she came to borrow -- it's the OCR of a musical version of Les Liaisons Dangereuses (which, as far as I can tell, is fictional, because Tom says Madeline Kahn was nominated for a Tony for the original production, and that didn't happen) called just Liaisons. I'm sad it doesn't include an exclamation point. Tom tells her it's about time someone revived it, and he totally queens out when Ivy tells him she talked her way into an audition for Cécile. Ivy downplays her chances, but Tom tells her she's perfect for it and this could be her breakout. He tells her if she brings what she brought to the workshop, she'll crush it. Aw. I love them together.