Emma comes down and the pair lean against Will’s car in the snow, quietly discussing their situation. Emma apologises for leaving the wedding and hiding from him, and while Will is clearly upset, he does his best to try and understand and help Emma. He asks her, if she were to write one of her bizarre pamphlets to herself, what would it be called. “So You’re Freaking Out Because The Man You’re About To Marry Parades Back Into Town And You Don’t Feel Like You Know Him Any More.” Will chastises her for not talking to him about it, but they agree to start over, from scratch, and asks her out to a movie that Friday, to see if they can get to know each other once more? Oh my god, do we now seriously have to go through their entire relationship again?
Santana waltzes into the Bushwick apartment fresh from a day of discovering New York, and finds Rachel alone on the sofa. She enquires as to the whereabouts of “The Hardy Boys,” – Kurt and Adam, and of “Pablo Escobar,” – Brody, who’s apparently in the shower. Rachel tells Santana off for continuing to make fun of Brody, but Santana changes the subject, now that she has Rachel alone – she sedately brings up the other item she found accidentally, while rifling through the apartment: Rachel’s pregnancy test. Without revealing whether the test was negative or positive, Rachel tells Santana she had no right to snoop, while simultaneously breaking down into tears. Santana asks what is going on, then holds Rachel as she cries, telling her she’s going to be okay. Given that Rachel would have no real reason to be sobbing over this if the test were negative, I think it’s safe to go ahead and assume that Rachel is, in fact, pregnant, but that her path may end up slightly differently to Quinn’s.
Back at McKinley, Jake entices Marley to McKinley’s very well-equipped pottery room – this school has everything, man – where he admits that his Valentine’s Day gifts and gestures had not been his own idea – that they were Ryder’s ideas, which Jake used because he wanted to impress her so much. He presents her with an idea he came up with all on his own, and sits her down at a potter’s wheel to help her shape a pot while he sings “Unchained Melody” to her, re-enacting the famous scene with Demi Moore and Patrick Swayze in Ghost. It’s all very touching, until Marley starts to envision Ryder sitting and singing with her instead. She seems to have an out of body experience, watching herself with each boy as they sing to her and Ryder – though not Jake – passionately kisses her. I keep crossing my fingers and hoping that Marley will evaporate entirely and that Jake and Ryder will be singing to each other at the potting wheel, but alas, no. The song ends and Marley leaps up in distress, saying she had known about Ryder being behind the Valentine’s Day surprises, but that she found it so sweet that Jake had tried so she didn’t mind. She could have left it there, but goes on to give full disclosure: “Ryder kissed me.. and I let him.” Jake stares at her, before getting up and exiting without a word, leaving Marley crying alone with her sad pot.
Later, at glee rehearsal, Will announces the winner of the competition: it’s – surprise, surprise – everybody. The club is dismayed, with Blaine actually exclaiming “why do you always do this?” Sugar weeping “so in reality, what you’re saying is that we’re all losers?” and Ryder questioning why they bother having a competition at all. I do so love these scenes where the glee club has big shouty objections like this, they are always golden. As the club settles down, Will calls Finn out into the hallway to thank him for his encouragement about finding Emma, and when Will waxes lyrical about how things may be better than ever, Finn asks if Emma said anything about him. Will tells him no, why would she, to which Finn, of course, says “because I kissed her.” Will just stares as Finn stammers to explain, saying he doesn’t know how it happened and that he doesn’t think of her like that. He apologises and begs for Will to punch him or something, because he deserves it, but Will just stares silently with tears in his eyes before walking away. Seems that’s going around, this week.
Then, with absolutely no transition, we leap straight into the big New Directions closing number for the week, on the auditorium stage. It’s “Footloose,” from Footloose, and seeing as I hate Kevin Bacon more than I hate most things on this planet, I refuse to comment further. Peace out.
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