Touch 1.12 – Gyre, Part 2

California, here we come!

The one constant as time passes, Jake tells us in the opening voice over, is change. What the? Try to wrap your mind around that conundrum, folks! People don’t like change, Jake muses, so they cling to the illusion of stasis. We see poor Martin, who to be fair has never really gotten any illusion of stasis to cling to, crying over a photograph of him and Jake. When he gets a phone call, he rushes around, packing frenetically, and spills other photos of Jake as a baby and toddler on the floor (and my goodness, David Mazouz has been absolutely darling every second of his young life—every millisecond and microsecond, even).

Lucy, Amelia’s mother, looks at tide maps to plot her course as she works her way around the west coast. Randall, our ex-firefighter, recent lottery-winner, present church-owner friend, works on restoring the church with help from a boy who has seized on him as a father figure. In Jamaica, a young man finds the singer and musician Jamar Bekko.

“It’s time,” Sheri tells Clea, because Sheri is fond of making ominous pronouncements. What it’s time for is Jake’s transfer to some other Evil State Facility; this one will be hours away from NYC and Martin. “Some you just get really attached to,” Sheri continues, sounding totally detached, as Clea agrees to get Jake ready. Okay, Clea is so spying from the inside of the conspiracy, right? I can’t believe she’s really betrayed Martin like this. When she packs for Jake, Jake grabs a cell phone from his box o’ cell phones, and pulls on a hoodie.

Martin grabs some cash from a peanut can, as you do, and tells Abigail when she comes to the door that calling a lawyer is a terrible idea. No, he’s just going to go buy a gun, because that’s a terrific plan when dealing with a vast, insidious, well-funded conspiracy! He heads to Arnie’s Pawn Shop—remember Arnie, who was going to kill himself for the insurance money, when Martin and Jake saved him?  Arnie tries to get Martin to talk to him about his troubles, but Martin insists on packing heat instead. Good thing Martin’s such a huge mess today, because he forgets the bullets that go in the gun.

The young music-loving hipster who traveled to Jamaica watches the footage he made of Jamar Bekko, who hasn’t performed since his brother left the country.    Lucy’s SUV passes him, so those two are destined to interact. And at the Evil State Facility, Martin manages to dodge a couple of Aster Corp’s security force, but Sheri spots him skulking around.

Jake, with his hood up, pages through an AT & T app on his phone, because it’s not at all weird to do product placement for a huge corporation when we’re in the middle of a storyline about a conspiracy funded by a huge corporation. Clea tells him how much she’s come to care for him. She offers him popcorn and jokes maybe he’ll make numbers with it again for her. Instead he dumps it into his bag, because she’s working for the man now, yo, and he’s having none of it.

Gwen, the mother of the little boy who admires Randall and has an odd Age of Sail obsession that would be completely random were this not the second episode to focus on tides, stops by the church to tell Randall he should definitely come over for dinner tonight. Aha, the boy, Colin, is the one who ordered the sexton from Arnie’s pawn shop. “I’m going to see what latitude we’re at!” he pipes up, leaving the adults to make cow eyes at one another.

Colin’s really taken to Randall, Gwen tells him. Since his father left when he was four, “he tends to cling to people who are kind to him, especially men.” *pauses*  Gwen, you might want to shut that down right about now. Luckily Randall is not a creeper—he’s just an awkward guy with a huge burden of guilt, and a huge amount of lottery winnings. Anyway, it’d be great if they could count on Randall not being one of those guys who just up and leaves, since Colin admires him so—thus guaranteeing that Randall will up and leave before the end of this episode.

Sheri brings Martin to say good-bye to Jake, while Martin shoots Clea the death glare of pure white-hot hatred. Jake’s on the floor rocking in his hoodie—except it’s another kid, of course, because the hoodie made for the perfect disguise while Clea sent Jake on ahead to Martin’s apartment in a taxi! Okay, I’m relieved Clea isn’t one of the villains, and glad Jake has escaped the evil clutches of Aster Corp and Sheri, but you put a kid known for going AWOL in a cab all by himself, Clea? Honestly!

Martin has a semi-fun moment of accusing Sheri of losing Jake—which is kind of why he’s under the gun, custody-wise, in the first place—and then heads home to find his son. Of course Jake isn’t at the apartment, but Martin is able to see, through the use of a nifty phone app that clearly is only germane to the story and in no way paid to advertise itself on this program, that Jake wrote 4370 on the glass coffee table.

There’s a random bit with Jake watching someone’s video of the Jamaican musician when a person drops their phone on the street. But I don’t mind this useless gesture at interconnectivity, because then Jake sees the Invisible Prince!  I love that character, and the actor who portrays him, and there’s an absolutely wonderful tiny scene with him and David Mazouz. “You see them too, the numbers?” the Invisible Prince asks, and produces a red notebook that matches Jake’s (so they’re clearly besties already!).  “The guards of the empire,” the Prince murmurs, seeing policemen at the subway entrance Jake needs to take.  “Say no more,” he remarks to the non-speaking Jake, and I’m sorry, but I laughed out loud—well played, Invisible Prince. He hands Jake a Metrocard “a letter of transport” and distracts the policemen so Jake can head to the subway.

Lucy, filling up her SUV, meets up with music-loving hipster. His car is shot, and she tells him sorry, but he can’t hitch a ride with her on account of how he might be a murdering freak. Except, wait, it turns out he tells her his video of different musicians covering the same song has just gotten 318 hits. That’s the start of the Amelia Sequence, so she agrees to give him a ride.

At the church, Randall realizes his numbers—the numbers made significant because of the way he first rescued and then had to abandon Sarah Bohm, and then because they won him the lottery—are the numbers Colin mentions randomly to look up coordinates on his sexton. They’re also on the church blueprint; Randall connects them in a spiral pattern, which we’ll remember from an earlier episode is all kinds of mathematically significant and mystically meaningful.

Oh man, it turns out Jake went to the cemetery to Sarah’s grave—4/3/70 is her birthday. It’s really touching, and sad, that Jake remembers this, and seems to want to say good-bye to his mother before he leaves—whether leaving for this new upstate facility or skipping town with Martin. Martin discovers him there, but when he calls Abigail he learns there’s an Amber Alert out for Jake as a victim of kidnapping—they’re saying Martin abducted his own son. When a man nearby them looks shifty—obviously Aster Corp has goons everywhere!—Martin gets Jake to run off with him.

Sheri makes noises at Clea about how she’s probably responsible for Jake’s disappearance—well, good call, actually, Sheri. “You’re a criminal, Sheri,” Clea retorts, and well, yes, if Sheri is responsible for Amelia’s abduction and Arthur Teller’s death.

Over pizza and soda, Lucy and her music-loving hipster companion talk about her news: her ex-husband sold their old house today. “The nuclear family thing is overrated,” music-loving hipster says, and looks sort of hopeful that he can get a Mrs. Robinson thing going on with Lucy on this road trip.

Martin runs to see Avram. “You’re a good man, Martin Bohm, but knowing you has a price,” Avram says. They open the sliding doors to Teller’s half of the office, and everything is gone—all the files, all the work, even Teller’s notes on the blackboard. Since the thieves didn’t take Avram’s diamonds, it’s clear that it’s Teller’s work, and Jake, that the thieves were focused on. Avram is awesome and vows to help; Martin says they have to get out of town unseen, the farther away the better.

Randall stops by Gwen’s with—a brand new car! He just bought it, because guess what: he’s leaving town. Gwen looks annoyed, because it is so hard to meet single men who aren’t gay or total letches, you know? But he has to pay back a debt, and deliver a message, so he’s off, leaving Colin to attach too easily to another random man.

Avram is seriously and truly badass—he’s got tickets for Martin and Jake to Minneapolis, a ride for them to a bus station where the cousin of an associate will help them, and a contact in Minneapolis who will help them out until they get situated. As scary looking men lurk nearby, he helps them into a van to start their escape.

Music-loving hipster explains his mission to Lucy—his dad was a record exec who bilked the talented artists he signed. Now he wants to use the money his dad left him to right some wrongs in a small way, by having different artists, all in different countries, record the same song. She drops him off at the next stop, and I flail a little as they abruptly part ways, because aren’t they supposed to have some life-affirming May-December loving first?

Jake won’t get on the bus to Minneapolis. When Martin sees there’s a bus, number 4370, headed to L.A., he understands that’s where they have to go.

Music-loving hipster talks to a woman at the address where he’s been told he’ll find Jamar’s brother, Thomas. After putting him off, saying the brother won’t be back for a month, the woman finally says, “I just couldn’t be who I really am,” in Jamaica. Oh, this is Thomas, who has since transitioned into a woman. Luckily music-loving hipster is a man of the world who takes this totally in stride (also, because Thomas is an amazingly gorgeous woman, for real) and explains “Your brother wants to make music again; he won’t do it without you.” His videotaping project will give her a chance to blend her voice with her brother’s from halfway around the world.

Meanwhile, Randall’s GPS tells him he’s arrived at his destination—the coordinates, his numbers, that he fed into the GPS. “This is not right,” he mutters, because he seems to be in some abandoned underpass. But then we see at the bus station that Martin’s being menaced by some of Aster Corp’s heavies—thank hell that gun had no bullets, because one of them tries to shoot Martin with it. Then Martin hits him with a brick, holy guacamole!

Martin and Jake run, and there’s Randall to pick them up! They explain who they are, and Randall gets choked up, because he’s been afraid to meet them for ten years, but he has to tell them about how Sarah died. He pulls over to explain.  She wasn’t scared, she said, because she had everything she’d ever dreamed of in Martin and Jake. I’m not even going to try to poke at that, okay? She was so brave, he tells them, and she saved his life, even though he was supposed to save hers. “She would want you to let this go,” Martin says gently. Um. This is lovely and all, but maybe you should be driving away from the evil corporation’s hit squad?

If they’re all supposed to move on, Randall says Jake and Martin might as well take his car. It’s not registered and has no plates yet, because it’s brand new, so the authorities out to get them won’t find them in this vehicle. Randall just gets out and walks, because he’s kind of a badass himself, and Martin gets behind the wheel of a car that’s been sponsoring this show (seriously, so many product placements in this two-part finale, my goodness).

Martin calls Clea to make sure she’s okay. She is, and “It’s probably better you don’t ask,” where they’re headed. As Clea walks away smiling, Jake’s voice over tells us “every moment, every nanosecond, the world changes.” Randall arrives at Gwen’s for dinner while Jake says, “It’s change that makes us strong.” We see all the different musicians all over the world who the music-loving hipster has recorded signing “Three Little Birds”  “Saying, don’t worry/About a thing/ Because every little thing’s/Going to be all right!” It seems so beautiful and spontaneous, but yet it’s totally planned out for maximum effect. I feel simultaneously emotionally manipulated and seriously moved by it—that’s the magic of Touch!

Here we are in California (where we've actually been most of this season while we fronted like we were in NYC).

Now we know we’re in Santa Monica, because The Happy Pop Twins turn up one more time to give us location-check as they continue their madcap video-blogged adventures. Jake and Martin, on the pier, see Lucy with her tide map. “What brought you here?” Martin asks. Of course these are the coordinates, now adjusted, that are supposed to lead her to her daughter. And she has found her daughter, really, because she’s found Jake and Martin, and they’re all part of this same enterprise of trying to find ways to assuage the pain of others—shut up, I’m having a moment.

As the show comes to a close, Jake reaches out and takes Martin’s hand! His little hand! *covers mouth with hands* I can’t even scoff for a second at the timing of Jake actually willingly touching Martin for the first time right at the end of the season one finale; that’s how moving and gorgeous this moment is.

Martin closes his eyes, in this moment with Lucy and Jake—and it’s like we’ve got a new family unit here as Touch picks up stakes and settles in California.  Let’s all cross our fingers that this moment of closure and its vision of family really leads to Maria Bello as a series regular in season two, and to even more complications in Touch’s narrative.

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