Huge props to my guardian angel, Angel Cohn, for covering last week's episode. I wish to high Olympus I had waited another week, but that's not your problem, so let's get on with the show.
Jack's a DJ who plays what he wants, even though his station has just been bought out by a Clear-Channelesque conglomerate. When Trevor hears Jack's plea for his favorite listener, Jane, to call in during his last indie-ish shift, he recognizes it as his personal
Bat cherub signal and flies off to the radio station. Jack and "Sweet Jane" are our couple of the week. Her real name is Sarah, and when Jack uses her favorite used -ecord store to trace her to the grocery store at which she works, Sarah tells him, "This ruins everything." She already has "too many men" in her real life and can't stand Jack cross-filing himself, or whatever.
The men in Sarah's life turn out to be her sons, like you knew they would. Jack bonds with them immediately, but has a(n understandable, of course) moment of skittishness when Sarah's older son, Adam, asks him to appear at career day, right after he (Jack) is approached by a non-Clear-Channel-esque station in Seattle – one which so wants him and his indie-spinning ways. Jack realizes, though, that Sarah and her brood are what he needs. Of course, Sarah, not being dead, detects his momentary skittishness, and then accidentally overhears a phone message from Jack's Seattle contact. She dumps Jack for what she thinks is his own good. But when Jack comes to the rescue after her younger son, Ben, flips out at school, they kiss and make the boo-boo all better. They then have another kiss-and-make-up session at the used record store -- the very one Jack first used to hunt down his "Sweet Jane." So yeah, all's well that ends well.
In the B-plot, Claire hits it off with Pete, a statistician who's working with Claire on new internet dating service -- DateWell. She's all for it, and him, until Pete turns out to be a dog, and DateWell matches her with Trevor. I can only imagine your surprise! Since I'm still breathless by this turn of events, I'll catch you on the flip side with the full recap. God(s) bless each and every single one of you who has hung in thus far.
Huge props to my guardian angel, Angel Cohn, for covering last week's episode. I'd also like to shout out to Dancing With the Stars's Samantha Harris, because she just said this episode is the season finale of Cupid. I thought there was one more episode, but it seems it fell by the wayside. Besides, I'm quite sure the lovely and talented Ms. Harris would not lie to me, especially not right in front of Tom Bergeron, various D-list celebrities, and America.
We open up on Jack, a DJ whose station became the property of a Clear-Channelesque conglomerate, just three hours ago. Jack's locked himself in the broadcast booth (or whatever it's called -- what am I, a disc jockey?) so he can do his show his way -- ignoring the playlist provided by the new ownership. Jack's station manager is banging on the door, but Jack's not letting him in (he's got a chair propped up against the doorknob, which I've never ever seen anyone do in real life). "I'm Jack Kazakowski, and I play what I want... At least for a few more hours." Claire is waiting for a take-out order at Tres Equis, while Trevor is listening to Jack's on-air plea for his favorite listener, Sweet Jane, to call in during what well may be his last shift. When Felix brings out Claire's order, Trevor grabs it and hustles out the door, to bring it to Jack. Felix is left covering Trevor's shift and feeding his psychiatrist. Heh. Felix, I think I'll miss you most of all. Pixie dust.
Trevor's out on the sidewalk watching Jack's last broadcast through the window. He smiles when Jack's final caller is Sweet Jane, requesting Jack's favorite song, "Build Havana" by one of his favorite artists -- Future Clouds & Radar -- an actual band out of Rob Thomas's Austin, Texas. Jack proposes they meet face to face, because Sweet Jane will never call in again, once his show goes corporate, and he thinks they have something rare, so this is like a reverse Play Misty For Me, then? Okay. Well, it's okay with me. It's not okay with Jane who says, "I can't," and hangs up. Her you creep is implied. Jack puts the record on the turntable and leaves the booth. His station manager tells him that corporate is going to flip. Jack's not worried. "I'm the Ginger Rogers to corporate's Fred Astaire. They give me a paycheck and I give them class." Yeah, 'cause that was really classy how you started stalking an audience member on your show.