Aftermath of the Bombshell reading. Julia asks why no one is saying anything. Is it that bad? Derek says it's that good. Tom compliments Julia and Peter, and Peter whispers in her ear, "I told you it was perfect." There's going to be no living with this hag now.
Terry and Cécile's mom are playing a farcical scene with her bent over a chair. Ivy comes in and plays the scene completely straight, rolling right over Terry's continued Pepe Le Pew-ing. Everyone else in the room genuflects to her obvious genius.
Jimmy brings Karen and Ana beers and says he just doesn't understand where Kyle went wrong. Derek calls and Karen apologizes for not sending him the Hit List script yet, but Derek says the Bombshell reading went splendidly and she's going to win every award in sight for it. Do they give Razzies for live theater? "Hit List can wait," he says. Jimmy can tell from her face -- well, he's supposed to know from her face, but as we have discussed, there ain't much there, so let's just assume he knows from the script -- that he's screwed sideways.
Terry is slumped dejectedly outside the rehearsal room. Ivy comes out to find him, in her enormous-hipped skirt. He asks how she managed to connect with the material in that scene, and she crouches down and starts with Stanislavski and works her way through Adler and Strasberg and Meisner and eventually gets around to telling him that it's about fear. When you're afraid of -- and therefore respectful of -- the work, you can feel how to do it well. Terry says he's never been afraid of his work, but Ivy counters that he's playing it so broadly because he's afraid.
Karen finds Kyle on the building's roof deck, which has a gorgeous view of Manhattan, so these two drink-slinging gremlins can't be doing too badly for themselves. She apologizes for pushing for the reading. He can't believe he's just so bad, and says that he doesn't have "it" the way Karen and Jimmy do. I beg to differ, pal. Karen tells him she worked on her skills and that he can't just wake up one day and write the great American musical. "Jimmy could," Kyle says. Well, Jimmy's crazy.
Eileen and Nick talk at the prison, and he tells her he's being moved upstate next week. He doesn't want her to keep wasting her time on this storyline now that no one's getting any more $7 martinis.
Ana is trying to console Jimmy about being part of way worse readings, including Towering Inferno: The Musical. She tells Jimmy how Karen's had such a rough year, what with getting cast as a Broadway lead and all, and tells him that even though Ana thinks Jimmy's not such a bad guy, she's asking him not to mess with Karen. Ana seems awfully invested for someone who met Dead Eyes through Craigslist like twenty minutes ago.