At the reception, Quinn and Santana use fake Ids to hit up the bar as they cynically bitch about the outcome of the wedding and about their paired-up friends. “Look at those romantic saps. You know, they may have love, but you know what we are that they are not?” “Flawless,” Quinn counters, not missing a beat. She also compliments Santana’s looks and outfit, touching her shoulder in a way that makes Santana eye her with interest. Jake pulls Ryder aside, calling him a “love genius” and saying that Marley has a case of “Puckerman fever” and that he needs one more gesture to make the condition “fatal.” Ryder, a little fed up, asks whether one of the gifts should be Jake’s idea, but Jake dismisses this, saying all his ideas suck. Ryder reluctantly hands over a jewellery box containing a pretty heart pendant. Jake exclaims that Ryder is his hero and that he will totally be getting laid tonight. Ryder pulls him up short, questioning this and Jake says that he’s booked one of the rooms upstairs because, even though Marley wanted to take it show, he thinks that she’s so hopped up on romance that it might happen. Ryder tells Jake that Marley is not ready for that, being only a sophomore and getting over her illness, but Jake swears that he isn’t going to mess her around, that he loves her and that he’d promised Ryder himself not to hurt her. “I keep my promises. Especially to friends who are putting whatever feelings they’re having aside to make something special happen for me.” Ah, so Jake isn’t totally blind to what has been going on with Ryder.
On stage, Blaine and Kurt perform an entertaining version of Depeche Mode’s “Just Can’t Get Enough.” Interestingly, it’s their best duet since prior to them ever getting together (“Candles,” ugh, “Perfect”, double-ugh) and they’re very in sync. While they perform, Rachel approaches Finn and tells him that the wedding disaster was not his fault – that when a woman does a “runaway bride,” it is because something is deeply wrong. Meanwhile, Tina glares resentfully at Kurt and Blaine’s performance, and Artie approaches Betty once again. She continues to cut him down, but when he persists despite that, she agrees to dance with him.
When the boys finish the song, Blaine goes off to get a drink and asks if he can get Kurt one too. Kurt accepts but reminds him once again that this behaviour shouldn’t be construed as dating, and Blaine nods in compliance. As he leaves, Tina accosts Kurt, and they have a stand-off. Tina tells Kurt that she doesn’t like the way he treats Blaine, which, fair point, but then goes on to rant about how everyone is human and deserves to be loved back, which is clearly projecting her own Blaine issues. Kurt sees this too: “Okay, Tina, I say this with total love, but the moment we all saw coming is finally here. You’re a hag. You’re hagged out, you’re in love with Blaine, and it’s creepy. Stop.” High five, Kurt, even though you were a terrible boyfriend yourself. Tina says Kurt doesn’t know anything about love, or more specifically loving Blaine, which is not the most inaccurate statement in the history of Glee, but she goes on to reveal all the ways that she has loved and supported Blaine since Kurt has been gone, including accidentally admitting to her creepy vapor rub molestation. Kurt looks taken aback and grossed out and Tina flusters, trying to take it back, eventually angrily storming off. “Did you vapo-rape my ex-boyfriend?” Kurt demands, and I am so very relieved that that whole incident was actually meant to be objectively creepy, because with Glee, you never know what they think is appropriate, and it seemed they were going the “sweet and sad” route.
Sue takes the stage and, in the least enthusiastic way possible, invites all the single girls to gather around as she tosses Emma’s bouquet. Rachel ends up catching it, and later, Finn corners her as she carries it around. He casually remarks that it’s odd that she went for it, as traditionally it’s for single girls to participate and that he didn’t think Rachel was single. He’s actually incorrect, it is actually for unmarried girls, wither they’re attached or not, but pointing that out would be counter-productive to where the conversation goes next, which is discussing her relationship with Brody. Finn plucks a daisy from the bouquet and begins to play the “she loves me, she loves me not” game with it as Rachel claims she is single. “You live with a guy… she loves me not.” “Have you been drinking?” Rachel asks. It’s a fair question, Finn is very rarely this brash and relaxed at the same time. He goes on to start rambling about flowers as a metaphor for relationships – that a relationship can grow, and it may die for a while, but if you tend the garden, spring will come again, love will grow again. “Are you telling me you want to be a gardener?” Rachel asks coyly, and Finn, self-assured, says he’s asking how she can live with a guy but still be single. Rachel dismisses this as the norm for New York, just like Sex and the City, and that she and Brody had a mature conversation about their lack of labels, but Finn knows her better than that, and questions whether she really believes all of what she’s saying, and it’s certainly true that Rachel doesn’t do “casual feelings” very well, underneath her bravado.
He says that she’s lying to herself, (“she loves me”) and that the reason she can’t commit to Brody is because she’s still in love with someone else (“she loves me not.” It’s the second-last petal.) “You?” she asks. “You and I both know how this thing ends,” Finn tells her. “I don’t know how or when, I don’t care where you’re living or what dope you’re shacked up with, you are my girlfriend, we are endgame. I know that and you know that.” Wow. I am really torn, because while I would be completely fascinated with a legitimate Finn/Emma relationship, I was not expecting Finn to pull out this masterpiece, and I am now back on the good ship Finchel. They keep getting me when I least expect it! But this is just stunning. He leans to kiss her, and she stares at him, saying they have to go and sing their duet. She turns away and he sighs, but then her hand reaches back into the shot, plucking the last petal for him, “she loves me.”
On stage, they begin to sing “We’ve Got Tonight” while all of the other couples slow-dance. This includes Kurt and Blaine, Jake and Marley, Tina and Mike – who clearly had an interaction where all their interactions happen, offscreen – and Quinn and Santana. Quinn tells Santana that she’s never slow-danced with a girl before, and that she likes it. Rachel and Finn hold hands, and then move to holding hands in the hotel corridor, entering a room together. Other couples then follow suit, taking over the song a couple of lines each – Kurt and Blaine, grinning, as Kurt pulls Blaine in by his tie; Jake and Marley, tentatively; Quinn and Santana, laughing and falling against one another; and Artie and Betty, who seem to have put their differences aside. We cut back to Finn and Rachel, who get undressed and climb into bed together.
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