Darkroom. Lynn contemplates prints of Marin hanging on string. Wouldn't it be easier for a nature photographer on the go to get a digital camera and photo printer? Live in the now, Ansella Adams.
Jack staggers out of his office, looking for an eyewash station, and runs into Marin. She's finally run out of patience for the Lynn situation. She confronts him about kissing Lynn, and about the "falling in love with you" message. He can only say he's confused, and that this sort of thing never happens to him. Marin tells her she'll un-confuse him, saying she's taking herself out of the equation, which is too bad for him, since she's smart, pretty, and can "stand on [her] own two feet," making her "a home run." She turns on her heel to do the Tina Turner out of there, and immediately slips in a patch of ice. Jack helps her up, and Marin slinks off with...well, at least half her dignity.
Chieftain. Theresa and Ben flirt in the kitchen (there's a love toll), and then Patrick shows up for a takeout order he called in. Jerome chaffs him for having let himself go (seriously, he looks like he should be starring in a Benadryl commercial, his skin looks so bad), saying it's no wonder Annie's "touting her wares." Patrick turns around to see Annie in a booth with her orphan and slinks out without his order. I don't know what he's got planned, but I hope it involves a Bioré strip.
Marin is working in the Presidential Suite when Lynn knocks at the door with a parcel that was downstairs for her, and her photo, which Lynn calls a peace offering. She explains that she isn't the type of girl to fight over a guy. "We won't be fighting," says Marin quietly. She slides the photo out of the envelope (and...how presumptuous is Lynn, that she picked the shot for her), and Lynn says it's her favourite: "You look so vulnerable." Marin squints, and Lynn adds, "In a good way. The camera loves you." Marin smiles wistfully. At least she got a nice photo out of this whole ordeal.
Celia, her hair all post-sex-tousled, brings Ellis home for a little late-afternoon delight, only to find Patrick at the dining-room table, assembling his model. Ellis comments that he had one like that when he was nine, asking Celia, "Is he challenged?" "It's not that hard," says Patrick smugly. Heh. Ellis asks whether Patrick still lives there and, learning that he doesn't, chuckles with relief, saying he thought Patrick might be one of those "mama's boys" he used to hang by his gotch from the flagpole back in high school. Celia and Patrick smile uncomfortably to have their relationship pegged so precisely, and then Celia gets rid of Ellis, denying him a goodnight kiss. Once he's gone, Patrick smirks that Ellis likes her. Celia: "Patrick! Like I have time to love anybody but you!" She beams as she says it, but this clear glimpse of his potentially stunted future evidently gives him indigestion.