Plot
Jack's wife Bianca asks to finalize their divorce to which Jack agree, demanding various things in their settlement all to which she agrees, and the divorce is set for the next day. It is Valentine's Day, although the TGS cast and crew still have to work all night. Frank reveals that he hates Jenna when he always chooses to "kill" Jenna in a game of "Marry, Boff, Kill". Frank believes that Jenna is "phony", and Jenna tries many times to redeem herself with Frank, with reasons such as her participation in Vagina Day: "a charity event founded by a group of celebrities who have for whatever reason never been asked to participate in The Vagina Monologues". Eventually, in her final confrontation with Frank, she farts, but Frank is happy, telling her that that is the first real thing she has done, and the two reconcile. Another game of "Marry, Boff, Kill" leads some of the writers into believing that Cerie (who has been having problems with her fiance Aris) has feelings for Kenneth when she chooses to "boff" him. The writers send the pair off to get candy for the night. Kenneth and Cerie take a walk around Rockefeller Center, and Cerie reveals that she is not attracted to Kenneth but tells him that he can tell the others that the two made out. However, Kenneth fails to convince the writers that he has done so when he shows them a pair of male underpants, which he claims belong to Cerie.
Jack asks Tracy to have a drink with him to celebrate his impending divorce, but Tracy has to leave early to celebrate Valentine's Day with his wife through "role-play". As Jack gets more and more drunk, he reveals that he still has various fantasies about his wife from grabbing one of her breasts to her getting various terminal diseases with him by her bedside. Eventually, he picks up a prostitute (Rachel Dratch), and the two interrupt Tracy and Angie's Valentine's Day at the Soho Grand Hotel. Angie, upset that their Valentine's Day is ruined, demands that Tracy get rid of Jack and the prostitute, so he calls Liz for help. Liz gets Jack and the drunk prostitute out of the hotel, and Liz tells Jack that his relationship with his wife is sick and presents him with a scenario of "Marry, Boff, Kill", all with his wife, causing Jack to say that he wants to do all of the three but promises Liz that he will get over his wife, and the two leave the prostitute in the street. The next day, Jack and Bianca sign the divorce papers, and Bianca begs Jack not to sell the Arby's that he had gotten in their settlement. He promises not to do so, but will let the place shut down and become desolate. The two argue, and the sexual tension between the two escalate, until Bianca tears herself away from Jack and leaves.
Pete has forgotten that it is Valentine's Day, which also happens to be his wife Paula's birthday. He spends the night running around the city to try and find Valentine's Day and birthday presents for his wife, only to lose the balloons that he had bought for his wife. Liz has received a gift of chocolate-covered cherries and flowers from a supposed secret admirer. The "admirer" turns out to be "a law stylist", (Jason Sudeikis) and the gifts turn out to be for his girlfriend, Liz Lemler, who works in the accounting department at TGS. However, he tells Liz to keep the flowers but asks for a picture of her with the flowers and her ID to prove to his girlfriend that he did indeed get her something for Valentine's Day.
Read more about this topic: Up All Night (30 Rock)
Famous quotes containing the word plot:
“But, when to Sin our byast Nature leans,
The careful Devil is still at hand with means;
And providently Pimps for ill desires:
The Good Old Cause, reviv’d, a Plot requires,
Plots, true or false, are necessary things,
To raise up Common-wealths and ruine Kings.”
—John Dryden (1631–1700)
“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)