Back in Matt's office, Wendy and her increasingly sparkly outfit (are those time-release sequins? What the hell?) are perusing the big board. She asks what "Dolphin Girl" is. Matt explains that it's a voice Harriet does, before lapsing into a fugue about just how goddamn funny she is. Wendy asks what happened between Matt and Harriet tonight, and Matt either honestly doesn't know or still refuses to admit it. "We've broken up fifty times before, and this time we weren't even going out," he says, laying out about half of the problem right there, not that he recognizes it. "But this time it was different," Wendy confirms. Matt wonders if maybe Harriet was pissed that he couldn't write a sketch for her. Wendy hits just the right note of sarcasm saying you know women -- always wanting you to write sketches for them, and always getting angry when you can't. "I can be a better boyfriend than I was before," Matt says, sadly if not convincingly. Wendy says that maybe he should tell Harriet that. No, says Matt, he's telling Wendy that: he can be better than he was before. Wendy deflects this drunken come-on, saying that she has a fiancé now, and -- speak of the devil -- here's his phone call. Wendy has to leave now, and Matt congratulates her on her happiness. "I really can tell that joke," Matt says, stuck on the poverty/chastity thing and the woman that joke represents. Not being able to tell the joke and not being able to keep Harriet are essentially the same thing for Matt. Which is so terribly sad.
As Wendy escapes Matt's den of writer's block and self-pity, Chrissie Hynde's voice begins to ring out, The Pretenders' "2000 Miles" on the soundtrack. It doesn't make up for all sins perpetrated by this episode, but it makes up for a few of them. And it's to the montage we go! Jack Rudolph and Tom Jeter have a laugh over a couple of cigars and some whiskey. Darius and Simon team up to write the best black militant fruit sketch they can. Jordan and Danny continue to eat each other's faces. Cal supervises as an ax is taken to the stage floor. Matt and Harriet separately look sad, sad, sad. The destruction of the stage floor is juxtaposed with Matt and Harriet, so we connect the dots that the stage of Matt and Harriet's relationship has been similarly torn asunder. Matt stares at the stage being torn up and looks like he's about to cry. Aw. Barf.