Ivy gets home and calls Tom, enthusing about getting the part in Liaisons! (I've decided it needs the exclamation point.) Tom is genuinely thrilled for her, and she tells him he'd be a great director -- he knows how to get the best out of people without torturing them. "Art without torture," Tom muses. "I don't think it's possible." Well, it would certainly put Derek out of a job.

Karen is chasing Jimmy toward Madison Square Park (still wearing her costume. Sigh). He tells her she doesn't need to explain why she's been radio silent the past few days, with her show in rehearsals, and she says she's still committed to his show even though Bombshell is back on track. Jimmy says Derek doesn't know who they are, but Karen protests that Derek liked the music. Jimmy says this show doesn't mean anything to him -- liar -- but it's everything to Kyle and she's getting his hopes up. So she has to be the one to crush him if it's not going to happen.

Times Square, center of hell in the universe. Julia is telling Peter she wants to go back and take a broader view of the show, now that she's proven she can hit a scene out of the park. He disagrees that the scene was so great -- she had Kennedy as the predator and Marilyn as the prey. Julia screeches that the Kennedys destroyed her, which makes Peter laugh when he tells her she's being incredibly naive, considering that Marilyn only slept with powerful men who could help her, so she was the predator. They spar some more about whose actions led to whose death, and I bet if this goes on for another month or so Graydon Carter will put fucking Karen on the cover of Vanity Fair. Peter wants to scrap the shadow selves, because Peter is smart, but of course Julia pushes back. Tom cuts in and tells them to take a break from trying to kill each other.

Derek leaves the Flatiron Building (so that's where the rehearsal space is now, not the Brill Building? Who's in charge of continuity on this clusterfrak?) and sees Ronnie getting out of her Town Car. She says she wants to work with him to have freedom like she saw in the Marilyn and Kennedy number because she's stuck being Broadway's sweetheart. And to get out of that mold, she's dropped out of The Wiz. She wants to do a one-night-only show to prove to Broadway that Veronica Moore isn't their baby. She asks Derek if he wants to grab a drink and talk about it, and this idiot walks away from a Tony winner to chase KAREN FUCKING CARTWRIGHT.