Younger (2015) s04e11 Episode Script

1 - [CHEERING.]
- [UPBEAT IRISH MUSIC.]
Hell of a party for a three-week fling.
Well, when Josh falls, he falls hard.
- Humble-brag much? - Not me.
I'm happy for him.
I mean, not now.
Now I'm sad for him.
[LAUGHTER.]
[PHONE CHIMES.]
Who's dick dialing you on a Wednesday night? Jay.
He's, uh, he's just asking me out.
- Ooh, you gonna ask him in? - We are taking it slow.
He is a viable, legitimate prospect.
You make him sound like renters insurance.
Hmm.
- Hey - [CHEERING.]
Oh, the band! Oh, didn't get you guys on the Instagram story since you wouldn't dance.
Wow, Clare, you and Josh really packed it all in this week.
I know, it would be obnoxious, except for you guys are so cute.
Yeah, but if I only had a week left with a hot piece and I'm talking about Clare I'd skip all those tourist traps and, you know, get in my last lick.
Oh, we've got plenty of licks in.
It's true.
This is the first time we've left my room in two days.
We photoshopped those in between.
In between what? - Licks.
- [LAUGHTER.]
- [RATTLING.]
- Ooh! Free shots! - What? Where? - Free shots! - Yes! - Oh, my God.
[SIGHS.]
- How you doing? - Honestly terrible.
I mean, I couldn't be with you because of timing, and you introduced me to the perfect girl.
I can't be with her because of timing.
Do you have a hospice patient you could introduce me to next or something? No.
No sad eyes tonight.
I will Irish good-bye your asses so fast.
[LAUGHTER.]
Here you go.
- To Clare.
- BOTH: To Clare.
No, to Liza.
It's her fault we're in this damn mess.
ALL: To Liza! To me.
Hey! [UPBEAT MUSIC.]
[SIGHS.]
You're leaving.
We'll never get to know what we could've been, you know? Yeah.
Well, that sucks.
Now you've gone and ruined our last snuggle.
Hey.
This doesn't need to be our last one.
We could visit each other.
This has been so amazing.
- I know.
- [CHUCKLES.]
I always dreamt of being a New Yorker and dreamed of coming here and grabbing the city by the short and curlies and falling in love with the perfect New York guy.
- And you did it.
- I didn't, though, did I? I'm going home today.
I failed.
Come on.
Failing is what makes you a New Yorker.
Everyone in this city gets knocked on their ass.
Whoever gets up gets to stay.
In two years? When I can get another work visa? And in the meantime, we have, what? A transatlantic relationship? This was wonderful, but we've got to let it go.
When I've lost it all And I've got nothing left Will you stay? Will you stay? [UPBEAT ROCK MUSIC.]
And lastly, a reminder that we look forward to seeing everyone at the Publicity Awards tomorrow night.
Our very own Diana Trout is being honored for making "P is for Pigeon" the sleeper hit of the year.
Well deserved.
Liza, Kelsey, can you stay back a moment? - What's up? - The manuscript for "Marriage Vacation" is going around, and people are really responding to it.
Liza, you did a terrific job.
- Thank you.
- It is so strong, in fact, that we are going to make a serious awards push.
So we wanted to discuss a strategy with you.
Of course, we're in.
We have so many marketing ideas We would love to hear your input, but first, we have a pitch of our own.
We think that the book would have a better chance for this kind of attention if it was released as an Empirical title.
Empirical has a strong tradition of prestige literature.
Purely a branding issue.
Millennial has a brand, a very successful one.
That is not untrue.
But we worry that the critics would hesitate to nominate a title from a house that brought them a book written by a labradoodle.
That book while hugely popular and very important to the bottom line of this company is not our only title.
What she means is we do have a youthful brand, but "Marriage Vacation" is our first step towards more mature territory.
What do we have to do to be taken seriously here? We will table this for now.
Just something that we are considering and we wanted to give you the courtesy of being - a part of the conversation.
- [UPBEAT ROCK MUSIC.]
Unbelievable.
Empirical hasn't had a hit all year so he just wants to steal ours? Hold on.
We are all on the same team.
A rising tide lifts all boats.
I know.
And we're the tide.
I'm pissed.
Why aren't you? I just don't know if there's anything we can do about this.
- [PHONE CHIMES.]
- [SIGHS.]
- Great, and now Zane is texting me.
- - When it rains, it pours.
- You guys are still in touch? I think he gets off on rejection.
- I mean, it's so foreign to him.
- He wants to meet for dinner.
- Right.
- I've got to get - to this book party in the park.
- We will figure this out.
Just don't do anything rash, okay? - Kelsey.
- I won't.
[ELECTRONIC MUSIC.]
I was hoping we might go someplace where we could sit down and talk.
I've had a shitty day.
You're gonna take what you can get.
Two lobster rolls, please.
On him.
You have until the food gets here.
All right.
First, I went too far with Edward L.
L.
Moore.
I'm sorry for that.
And I'm sorry it screwed things up between us.
I miss you.
You said this was about business.
It's never just business between us.
I don't have time for this.
Okay, wait.
I'm leaving Rivington.
The list of writers that I inherited isn't a great fit, and now they're all jealous of Moore.
- Some of them are defecting.
- You got fired, didn't you? I'm leaving Rivington.
That's all that matters.
I want to start my own company, but I need another heavy hitter.
Me? Are you high? I couldn't even trust you to hold my phone.
Oh, I couldn't trust you at a funeral.
And now you want to go into business with me? We both played a little too rough.
But what if, instead of competing with each other, we were on the same team? You're a homeless editor.
Who's gonna sign with you if you don't have a publishing house? Edward L.
L.
Moore's contract has an editor's clause.
If I go, he goes.
He's writing a new series.
We can leverage that for capital to start a company one we'd run together.
You're telling me you don't want to call your own shots.
[UPBEAT ROCK MUSIC.]
Think about it.
[SIGHS.]
Richard, no, I appreciate your capriciousness, but I have work to do.
And I already know we're above the East 90s.
Okay, okay.
Now, I just want you to know that I've heard your concerns about Ethan living with us.
Step up.
Great.
And I completely agree.
There's not enough room in the apartment for three of us.
Oh what thank you.
I mean, I really do think Ethan will be better off on his own.
Okay, well, hold on.
I haven't even shown you the solution yet.
It's a two-bedroom apartment.
It's one room for us and one for Ethan.
So what do you think? [UPBEAT MUSIC.]
Chicky, chicky Hey, y'all.
Welcome to The Picnic Table.
Who's ready to get grilling? How long have you worked with Katie Lee? Oh, a few years.
She made me the best barbecued ribs at our first meeting, and I fell in love with her food.
You have one hour to use the ingredients at your stations plus, my new cookbook, "The Picnic Table" to barbecue something that would make my grandma proud.
- Now get grillin'! - [ALL CHEERING.]
Okay, if there isn't a microwavable breakfast sandwich in here, I'm screwed.
All right, just shut up and chop I got this.
You do? Mm, okay.
And what I regret most was not trusting him enough to show him who I really was.
I had to put on a facade to survive, I don't pretend to House a pearl.
I am grit and soft tissue.
But I am here.
And it doesn't have to be over.
They're finally asleep.
Took four stories, but I just tucked them in.
BOTH: Good night.
Wait.
I just read the final chapter.
- It's good, Pauline.
- Really? - Yeah.
- I was worried it was too revealing, but Liza convinced me it was the right ending.
- She did, huh? - Yeah.
She's very insightful.
Yes, she is.
See you tomorrow? For the girls.
You're clearly the better storyteller.
[CHUCKLES.]
Okay, great.
I'll see you tomorrow.
BOTH: Good night.
[UPBEAT ACOUSTIC MUSIC.]
- Oh, okay.
- It's perfect.
Liza Miller? Hi, Michiko Aoki, - I'm a lit manager at Gotham.
- Hi.
We are all just dying to read "Marriage Vacation.
" Everybody at "The Cut" is literally obsessed.
Okay, now you're making me nervous.
Photographer's coming.
Shoo, ladies.
- Shoo, shoo, shoo, shoo, shoo.
- Oh.
Quick, take these before he gets here.
- Yeah.
- It's Grandma's secret recipe.
- Ohh, cheers! - Okay.
Okay, that's just straight whiskey.
- Ha.
- That's the secret.
Not a secret anymore.
[LAUGHTER.]
- That was fun.
- Yeah.
I'm so sorry that people kept bugging me - about the book - No, don't be sorry.
I am proud of you.
You should be proud of you.
Thank you.
[ROMANTIC MUSIC.]
Whoa, oh Oh, oh, oh You know, I would love to invite you back to my place, but my mom is staying with me.
Knee surgery.
She doesn't trust the doctors in Pittsburgh.
[IMITATING HIS MOTHER.]
"If they were any good, they would be in a bigger city.
" [BOTH LAUGH.]
So you're taking care of her.
- That is so sweet.
- Temporarily.
She leaves tomorrow.
I, um, I have the Pubbies tomorrow.
Oh, so do I.
Then I guess I'll see you tomorrow.
Walk me to the train? [UPBEAT MUSIC.]
- Oh, my God! - Good morning, beauty.
I knocked twice, but you kept right on dozing.
We need your roller bag.
- Why? - Josh has a trip, and he was cramming all of his stuff into a duffle bag, like an escaped convict.
- [KNOCK AT DOOR, DOOR OPENS.]
- Did you find it? No, no, no.
It's too high for me to reach.
Can you? - Ahh! - Yes! Okay.
Ooh, you don't need these bras.
Kelsey! - Olay? - That's Liza's.
- Regenerist? Really? - Never mind.
- Why do you need my bag? - Oh, big news.
Josh is going to Ireland.
- Yeah.
- What? - I know it sounds crazy.
- That's because it is crazy.
It is not crazy.
Come on.
I mean, could it blow up in his face? Horrifically, yes.
But if he doesn't go, he'll always wonder what they could have been.
So Clare didn't want to do long distance, but she wants you to go to Ireland? - No.
- Eh No, no, no, no, no.
He cannot tell her he's coming.
Uh-uh.
She'd just tell him not to like she already has many, many, many times.
Come on, you go get packing, okay? - Okay, okay.
- If you miss the flight, - you'll waste my airline miles.
- Thank you.
I promise you I will bring it back good as new.
This is crazy, right? You need to get a job.
Thank you for seeing me.
It's your $300.
Yes.
[LAUGHS.]
Well So, as you know, Ethan is living with Richard and me.
But there isn't enough room for the three of us.
So I was hoping I could assist you and Ethan in patching up whatever's gone awry between you so that he could move back into your home.
I'm not sure I understand what you're talking about.
Ethan and I have a very open relationship.
Richard wanted his son to live with him.
I saw no reason to object.
- They're very close.
- Yes, I've noticed.
Um, but I was under the impression that you kicked Ethan out.
Who told you that? Richard.
And why would I kick my son out? I assume because he dropped out of school.
He what? When? What happened? I don't a few weeks ago.
I don't I don't know.
Geoffrey, get my husband on the phone, please.
This is so Richard! Okay, no, hold on.
Please explain to me why exactly this is so Richard.
Geoffrey, cancel that.
I'll call him later.
I hope you're prepared, at least emotionally.
So you're just going to leave Millennial to work with Zane.
Kelsey, he almost got you fired.
I know.
But he has Edward L.
L.
Moore, and I just feel like we're not getting any respect around here.
I mean, Charles is trying to take away our biggest book.
Well, it's his company.
It's kind of his call.
I want to be making those kinds of calls.
What about Millennial? And me? You would get to run your own imprint.
Plus, your stock's pretty high right now.
You won't even need me.
Of course I need you.
Kelsey, I just I want you to think about this.
I have.
And running my own company is my endgame.
And I can either start right now or in ten years.
I think you need to do your homework before you do anything.
Liza, we have the biggest fantasy writer in the world.
Okay, start there.
Are you sure? Have you seen the contract? What does Redmond think about all this? I mean, he's repped Moore for years.
You're right.
You're right.
Hey, Kelsey Peters for Redmond.
Yeah, I'll hold.
[DOOR OPENS, CLOSES.]
[LIGHT, JAZZY MUSIC PLAYING.]
[LIGHT LAUGHTER.]
Oh.
Hey.
Have a seat.
You two have met, right? - Just over the phone.
- You sure? Town's so small.
We must've met at a party or an Equinox steam room.
- Which one do you go to? - What's he doing here? I called him about Moore's contract.
He said he wanted to talk to us about the deal in person.
- Redmond, go ahead.
- So let me get this straight you've left Rivington to go what, freelance? And you think one of the best-selling authors in the world is just gonna follow you and your perfect cheekbones down to the unemployment line.
Oh.
You poor beautiful idiot.
Is there or is there not an editor's clause - in Moore's contract? - There is.
It states in very clear English that Edward can leave if his editor does, but he doesn't have to.
And if this is your plan, he's not going to.
Redmond, I know you're concerned about your client going with an independent.
But let me assure you, I can sell Edward L.
L.
Moore.
Craigslist could sell him.
Get over yourself.
You can find him an established publisher run by a grown-up, but I'm not going to let him leave Rivington to join you in the gig economy.
We'd be streamlined and open to new distribution strategies.
Kelsey, help me explain to Redmond what we're planning here.
[CHUCKLES.]
Oh.
We aren't planning anything.
Lunch is on me.
Redmond, thank you for helping me clear that up.
- Sure.
- Kelsey, wait.
Oh.
Peloton on 23rd.
I never forget a butt.
[UPBEAT MUSIC.]
I've been calling you all day.
I heard from Winnie.
Let me explain.
Did I lie to you? Yes.
But I did it for my son.
His grades dropped, he asked me not to tell her, - and I did - I know what happened, Richard.
Your son was cornered, so he manipulated you to get out of it.
Just like you manipulated me when you needed a place to live.
- Hold on.
- I let you talk me into it because I liked you and I liked how much you liked me.
Love.
How much I love you.
That's the thing you love me, you love Winnie, but you lied to both of us.
And you haven't even apologized for it.
I'm sorry.
Diana, Diana, please, please.
We are so good together.
You were so closed off when we first met.
Look how you've grown.
I have grown.
A few months ago, I thought I had to put up with someone I knew was manipulating me.
And now I know I deserve better.
I'm gonna be late.
Can I have a few days to find a place for us to live? That's how this all started.
There are boxes and tape laid out in the closet.
Please be out before I come back.
No strings, the sky's the only ceiling Boom, boom, we hit you like an avalanche Everything we do, we living limitless Limitless We living limitless Limitless We living limitless [UPBEAT POP MUSIC.]
I'm so sorry, Diana.
I know how much you cared for Richard, and I'm I'm just so sorry that it happened right before you Before I step onto the red carpet alone? I won the award, not him.
Right.
You know, before I met Richard, I was prepared to accept that this might be my life no plus-one, no one beaming like an idiot next to me in photographs, and I was okay with it then, and I am okay with it now.
Ready? Oh, oh, ohh Oh, oh, oh, oh, oh, oh, oh Stoop, please.
- How's your mom? - She's all healed.
- Oh.
- And, more importantly, vacated, so the place is all ours.
Uh-oh.
You know that Brooks Brothers mannequin that runs your company? He's coming this way.
Act young.
Good evening.
Congrats on "The Picnic Table," Jay.
And a great photo in "The Post" of you two.
All anyone wanted to talk about - was your star editor.
- Oh.
We're, uh, we're very proud of her.
And the book is going to be big for the company.
- How is it for the marriage? - Jay.
- Come on, that's private.
- Everybody's talking about it.
Oh, stop.
He's exaggerating.
It's fine.
I, uh, guess I'll have to get used it.
Truth be told, I don't know what the future holds.
But the book has definitely made some changes - in our relationship.
- I'm happy for you.
I mean it.
You and Pauline were great together.
Speaking of which, she's, uh, waving me over.
- Excuse me.
- Of course.
[CHUCKLES.]
I'll be back.
Hey.
One more.
Oh.
I know you're not sitting with Rivington.
Is there a pariah's table here? I knew you were a shark, Peters.
Didn't peg you for a tattler, though.
The only reason I called Redmond was to see if you were gaming me, - which you were.
- I wasn't gaming you.
I was trying to get you on my side before approaching Moore.
Why didn't you just say that? You weren't talking to me until yesterday.
I took a big swing, and I missed.
So what are you gonna do now for work? - What about Edward? - Don't worry about me, Peters.
I always land on my feet.
You'll hear about it sooner than you think.
What is that supposed to mean? You know what? I don't want to know.
You and work don't mix well.
What about you and me? Outside of work, how does that mix? That was never the problem.
I mean, you were great in bed.
You're just bad for business.
Then we won't talk business.
I'd like to thank our Empirical family for coming out to support Diana Trout on this richly deserved honor.
And speaking of our Empirical family, I am pleased to announce that a very important family member has finally come home.
So let me be the first to tell you that Edward L.
L.
Moore is back at Empirical.
- [CHUCKLES.]
- Oh, my - That's incredible news.
- That's amazing.
[INDISTINCT CHATTER.]
That is a get.
Wow.
How'd he pull that off? I'm so sorry.
Um, excuse me.
I have to use the ladies' room.
And, uh, I have one more announcement to make.
In addition to Edward's return, I would also like you to welcome Empirical's newest executive editor Zane Anders.
- Cheers.
Congratulations.
- Thank you.
Game on, Peters.
Okay.
Oh, my gosh, Liza! There you are! I couldn't find you in all the chaos.
Can you believe we got Moore back? We? Um, I No, I'm sorry.
Empirical.
Quite a coup, Up-Chuck.
You want to buy me a drink to celebrate? I, uh, I think we should get home to the girls.
Okay.
All right, um I don't know how to thank you.
- For what? - It's only the guest room, but I'm finally back home.
I feel like this book has done everything I ever dreamed of, and you helped make it so much better.
I can never thank you enough.
BOTH: Good night.
- Good night.
- [CAR DOOR OPENS, CLOSES.]
- You okay? - Yeah, um, you know what? Let's I'm fine.
Let's just let's, uh, let's get out of here.
I can't Hey.
[SOFT PIANO MUSIC.]
Crashing Oh, my God.
You're in love with Charles.
I need a miracle [SIGHS.]
I am.
I do love him.
I know that I shouldn't, but I do.
I'm losing my mind And you're so nice! Hey.
You're so nice, and I'm so sorry.
I need you the most So don't let me, don't let me Don't let me down Don't let me down