Previously on Smash: Really, all that's important is that our precious wee Kyle got Mrs. Landinghammed, right? Apparently that's what happens when you cheat on your boyfriend with your professional idol.
Karen and Derek are at her apartment, having drunk All the Wine. It is so late it's early. He makes noises about leaving, and she basically invites him to set up base camp in her vagina. They make out. It is inappropriate. Ew, Smash, no.
Adam's crack house. Jimmy wakes up on a couch while his out-of-body experience/alter ego sings Radiohead's "High and Dry" to him and he mopes about how poor sweet Kyle finally grew a backbone and dumped him. Second Jimmy chases him down the street, still singing. Augh, Jeremy Jordan is so good and his character is so shitty. Real Jimmy climbs up the fire escape to Karen's window and sits outside her window singing sadly, like Jack Kelly will never leave him. He knocks on the window and tries to apologize when Karen answers. He's pleading with her for another chance when Derek pops up behind her and is all, Hark, who is this pasty wraith at the window? Jimmy runs off.
Eileen's office. Kyle isn't answering his phone, obviously, so Tom leaves a really needy message just before Ivy and Momadette show up. Agnes Rubin-Vega is there for a conclave on Bombshell's Tony hopes. Julia is notably absent, because she's downtown with Scott, showing him the legal document Tom has sent her that dissolves their partnership. Scott understands that this will tie up the rights to Gatsby so the Manhattan Theatre Workshop can't do it in the fall, which would result in Scott losing his job and having to go back and teach computer-age philosophy at MIT. Julia promises she'll both fight Tom on this and try to reason with him so she doesn't screw Scott over again. Sure, that makes sense.
Eileen's war room. She runs through their competition: one show that's closed, one that's struggling after a West End transfer (Harold and Maude! Starring Elaine Stritch and Trent Kowalik!), and oh my god, ROAD HOUSE. Yes. Road House: The Broadway Musical. Yeah, I'm in. Tom brings up The Mystery of Edwin Drood and Pippin, but Eileen reminds him, as if this is something that a Broadway composer and director wouldn't know, that, as revivals, they're not eligible for Best Musical. We couldn't have accomplished that in a less clunky way? Oh, Tom meant for directing. Ivy brings up Hit List, which Eileen says isn't transferring. "We're the show to beat," Momadette says. Agnes pipes up that marketing is how they'll stay that way, and flips to a full-page ad in the Times touting Ivy as Marilyn. Eileen says she didn't buy the ad, so she surmises Jerry must have done it, and this does not make her happy.