St. Karen the White isn't just Derek's muse -- she's also serving as Jimmy's all-purpose inspiration. As he messes around with the first phrase of an all new song and Kyle... flits about (why, exactly, is he here at all if he's just writing Hit List's book?), Karen suggests that Jimmy tries making the phrase go up at the end instead of down. Just like her debut as Marilyn, or her performance at that random bar mitzvah, or that time she gave gospel singing at an all-black church a whirl, Karen's first stab at composing is a resounding success. Thanks to her, perhaps Jimmy will find his one song glory after all.
Oh, Julia, Julia, Julia. Rebeck's stand-in is, naturally, purple with rage over the constructive comments Peter's class gave Bombshell's book. She's decide to retaliate by meticulously picking apart Peter's own first play, a flop called The Singing Bird. So pretty much, Julia will be treating the play like most Smash viewers treat this show. Very meta, Safran.
Derek is using his patented "sexualize an actress, then scream at her until she is a broken shell" method to try and draw Ronnie into the world of adult Fosse ripoffs. Sadly, the director's dirty dancing take on Purlie's "I Got Love" -- a formerly innocent tune that's been Ronnie's signature number since she was a teenager -- makes his star uncomfortable and her mother livid. When Derek tries to complain about the situation to Ivy, his ex-girlfriend (bless her heart) rolls her eyes and basically says "eff that noise." Four for you, Ivy!
Too bad that Jimmy and Karen choose just this moment to come in and announce that they -- er, he -- has written a song that'll be perfect for Ronnie's concert. Largely because he just feels like being an asshat, Derek tells them that he's not going to bother listening to it. And that Hit List will probably never see the light of day. And that he gave Jimmy foot cream instead of facewash. Fuming, Jimmy goes off to see The Man. (He's gotta get his sickness off.) Sighing like a boy who's holding the world upon his slender, supple shoulders, Kyle goes in search of his errant roommate. And he doesn't invite Karen.
There is one foolproof way to track Jimmy down when he goes on a bender: sing a Billy Joel song at the top of your lungs and hope that the jerk hears you, then reemerges just so he can sneer about how lame Billy Joel is to your face. Kyle's random cover of "Everybody Loves You Now" eventually transitions into Ronnie belting out the same song on an empty stage. Ivy overhears and recommends that she sing that song during the concert -- Veronica Moore: A Tribute to Movin' Out! -- but Ronnie answers that she can't change the program at this late date. Or can she?
NEXT: "I Can't Let Go" proves why we just can't quit Smash