Rehearsal for "Hollywood and Vine." Karen is stumbling about dumbly while all the others dance around her and Derek stops her and explains that the song is about Marilyn realizing that being respected as an actress is different from being a star, and Karen snaps, "I understand the song, thanks." He rolls over her objections and gives her more notes, then tells them to start over. Ivy walks in and Derek asks what she needs -- just a little favor. He also wants her to watch with her "great eye" and tell them where they're going wrong. This makes Karen grind her back molars into dust, of course.
Peter is having dinner with some friends when Julia barges in, because she is actually a child who has no manners, none whatsoever, and yells at him. Daniel makes excuses to his friends and takes her outside to have an actual private conversation. She shouts about how she was trapped and how she wants specifics of his plans for her show. He's all, fine, here's what's wrong with your show: she focused on the Marilyn and DiMaggio years, making Marilyn into a housewife. Julia rambles about how the theme is Marilyn struggling to find a work-life balance and become a complete woman, and oh, great, because everyone was really yearning for a stage musical of Anne-Marie Slaughter's collected writings for The Atlantic.
Peter says that might have been how Julia related to the story, but it's not relevant to the audience. Julia protests it's relevant to the women she knows. And I am astonished that Act One didn't involve Marilyn trying to adopt a Korean baby during a USO tour. Peter counters that she focused on DiMaggio because she was in love with the actor who played him, even though that didn't come through in the text. He says the show was about the greatest sex symbol in American culture, but didn't have any sex. He asks where the heat was in the show -- maybe she couldn't put it in because she didn't know what it was. Julia says she broke up her marriage for heat, which is all fine and good, but if it doesn't transfer to the work, it doesn't matter! Which is what Peter says. He tells her to prove it; she tells him to go to hell.
Ivy is watching Derek whisper sweet nothings in Karen's ear, and then she gets up and begins dream-singing Robyn's "Dancing on My Own" as Karen and the dancers silently go through the number. The spots are on Karen and Derek, with Ivy moving slowly through the blue shadows. Aw, Ivy. You are so much better than both of these fools. She sings, "I just came to say good-bye" and then comes back to the present, where Derek is yelling at Karen for fucking up. She says she doesn't understand what he wants and maybe he doesn't either. They take five, and Ivy gets up to go. Derek stops her and asks what he can do to fix the number, although at first she thinks he's asking how he can fix what's gone wrong between them. Silly Ivy. Thinking Derek thinks of anyone but himself. She tells him he's doubting himself, and he shouldn't. Um, I'm pretty sure the problem bologna has a first name here, and it's K-A-R-E-N.