"Jordan, Danny, you guys are here?" asks Cal. "We've been lookin' for ya." Danny pissily asks, "Yeah? Where?" He also asks Cal where the snake is, but before Cal can spill the entire dumb subplot, Jordan has to go and "find some food." Of course. She shakes Danny's hand with both of hers and says, "It's been a pleasure," and then she books. Cal gets a doofy grin on his face and asks, "How'd you guys do?" Danny would rather hear about the snake, and Cal explains the entire dumb subplot: the snake, the ferret, the coyote, the stage, the mold, and the fact that they'll likely be fined by "several agencies." Danny confirms that this will cost significantly more than what it would have cost to film the sketch off-site, but before he can really get a proper rage worked up, he notices a piece of folded paper stuck in his watchband. Oh, Jordan. You caved. Danny reads the note: "I'm crazy about you!" Aw. Barf. Danny runs off to find the woman he pestered into submission.
Danny runs through the studio hallways, calling for Jordan. Run, run, run. "Jordan? Jordan? Jordan?" Through the bowels of the studio. The slow and inspirational version of the main titles music plays, so we all know this is a pivotal moment for the series. Inasmuch as it can be pivotal for a series that's about to be placed on indefinite hiatus. Danny finally bursts out the backstage door and looks defeated when he can't find Jordan. Of course, she's right behind him. Which makes total sense, because when she said she had to go find something to eat, why wouldn't she go outside? Danny and Jordan approach each other, and then Danny swallows Jordan's face with his mouth. Remember that movie where Charles S. Dutton played Halle Berry's husband, and you kept worrying that he was going to swallow her whole when they kissed? Only marginally less so right here.
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.