Only Murders in the Building (2021) s03e03 Episode Script

1
MABEL: Before Ben fell, what
if he grabbed for something?
You're using Ben's opening night gift.
I didn't think I'd need it so soon.
I did security for Ben.
Ben wants to say hi.
- Okay, we have to go.
- Help! Help!
- What?
- Where'd you get that hankie?
- Hands up!
- I didn't do anything.
I think the police have the wrong guy.
This is my manager, Dickie.
He's not just my manager,
he's also my brother.
And this is my documentarian, Tobert.
I am just an observer.
This is literally the last time
you're gonna hear my voice.
The show may be over,
but doesn't that mean
we're not obliged to live
by your show rule anymore?
They're taking down my sets.
This one just didn't sing.
I'm listening to my heart,
and re-imagining Death Rattle
in the most Oliver Putnam way.
It's a musical.
We think that Ben's killer
is someone in your show.
Which means
We're back.
[DISJOINTED PIANO PLAYING]
KIMBER: Where does a
great idea come from?
[MUTTERING]
In my experience, it all
starts with a single spark.
That's how we became ♪
The creatures ♪
Of the night! ♪
[PANTING]
Mm
KIMBER: Something small, but bright.
Maybe something only
visible to one person.
♪
[GRUNTS]
[CLOCK TICKING]
Hush little one ♪
Let me sing you to sleep ♪
Moonlight has come ♪
Now, drift off to a dream ♪
That might be something.
Did you get that one?
Guys! Wake up!
Donna and Cliff are gonna
be here in an hour. Jesus.
Howard, what do we
have for our producers?
We have one complete song,
uh, 11 fragments, and Ooh!
Uh, 25 rough notions
screamed over piano chords.
Maybe one night wasn't enough
time to write a whole show.
OLIVER: Are you kidding?
One night in 1978, I wrote two
musicals in George Plimpton's bathroom.
Or was it one musical in two
nights? It's all pretty hazy.
The point is, Norman Mailer
punched me in the mouth,
and when I woke up, I was
in Betty Friedan's waterbed.
I love that story.
Hey, Oliver, quick, crazy thought.
My cousin, Moses Morris, he's
very big at State Farm Insurance
Howard, did you notice
how when I told a story,
it had recognizable names and a point?
No. Moses Morris runs
sponsorships for State Farm.
So, what say I gave him a ring,
and maybe they sponsor the musical,
and then we don't even
need Donna and Cliff. Bam!
We don't need your
- Moses Morris?
- Yeah.
♪
Everything we need is right here.
Look at this cast. They're all killers.
CHARLES [AFFECTED VOICE]:
As we look at the cast,
we are faced with an unsettling truth.
Any one of them could be the killer.
- [BEEP]
- [NORMAL VOICE] Any notes?
Oliver would always give
me notes on my reads.
Thought it was fine.
Oh. Oliver would be a
little more, uh, snarky.
Do you want me to
Oh, okay. [CLEARS THROAT]
[IMITATING OLIVER] Excellent, Charles.
This time, try it with a dash
of none of what you just did.
Ah, yeah! Oh God, I miss him.
[LIVELY THEME SONG PLAYING]
Donna, Cliff, thank you for coming,
as I present my vision for our show,
which will be henceforth,
and forever, known as
- Death Rattle Dazzle
- [CLIFF GASPS]
a Death Rattle Musical!
[WHEEZES] Yes! Good! [GIGGLES]
Cliff, sit.
Legs crossed.
Kiss for Mommy.
[OLIVER GROWLS]
OLIVER: How lovely.
Now, truth be told, uh,
w-we did not have time
to flesh out a
presentation beyond this
one piece of foam board,
but we do have champagne!
[GASPS]
Sadly, we're out of champagne.
So, do you see it?
All I see is a bunch of
zeros in my bank account.
Yes, but what number's
in front of those zeros?
Another zero.
I've put a lot of money into this play,
and musicals are more expensive.
B-But look, we're talking
about triplets here!
- Do you see it, Cliff?
- I do.
- I love a musical.
- Sweetie.
- We've talked about your taste.
- Yes. It's bad.
You need a showstopper.
- Right.
- That's how musicals make money.
A song so irresistible,
it's like a syringe
that shoots from Broadway
straight into the neck
of Debbie from Duluth,
who becomes an addict from
the first second she hears it
during girl's night
out at the Calorie Pit.
And an addict will do anything,
anything, to get her fix,
even take a middle seat on a red-eye
to New York City, where
for the low, low price
of everything she's got,
Debbie can have the privilege of sitting
in the finest rear balcony
seat in all the land
to finally, finally see
that show with that song
she can't stop belting out
all over fucking Duluth.
So, do you have anything that good?
Do you have a showstopper?
[CHUCKLES] Darling, you are
a maniac! And I love you!
This show is gonna be
nothing but showstoppers.
This is Oliver Putnam
we're talking about.
Just gimme a few months
- You have three days.
- That's perfect.
- I was hoping you'd say three days.
- Then I leave for the Hamptons,
and unless they have cell service
at the bottom of a bottle of Chardonnay,
I will not be reachable.
You spent a few months with this group.
Any first thoughts?
First thoughts. First
thoughts. My first thought
is maybe I should've
gotten to know them better.
Wow. I was worried we'd
be starting at square one,
- but no danger of that.
- Well, you have to remember,
a lot of them grew up idolizing me,
so they keep their
distance out of respect.
Sure. If that makes sense to you.
Alright, let's start with opportunity.
Everyone was at the
Arconia when Ben was pushed,
and everyone was at the
theater when he collapsed.
Could be a coincidence.
No, coincidence is like meeting someone
who has the same birthday as you.
Cops said his blood was clean,
but maybe it was one of those poisons
that dissipates within five minutes.
Like succinylcholine chloride!
- Hm.
- What?
Okay, so, uh, someone
tried to poison him, failed,
and then finished the
job at the Arconia.
But who would wanna kill Ben
bad enough to kill him twice?
Jonathan, the understudy?
Was he looking for his
moment in the limelight?
Hm. Donna and Cliff?
Did they want to be rid
of their demanding lead?
CHARLES: Kimber, the
TikTok-addicted starlet.
Did she do it as part
of an internet mem?
♪
Why are you saying it like that?
No, it doesn't matter.
It doesn't matter.
The night Ben died,
he apologized to Kimber
for "making things messy." Do
you think they were hooking up?
I don't know. But another female killer?
That's so done.
The night that Ben died,
he was holding someone
else's handkerchief.
We need to find out who in
the cast doesn't have theirs!
That could be our killer!
[TEXT CHIMES]
It's Oliver. Rehearsal at his place now?
- Guess I have to go.
- I'll be right behind you.
Wait, Oliver's texting me now.
I am no longer welcome at his apartment.
I am banned?
No investigating during rehearsals?
Whatever. I'm gonna go
check out Ben's penthouse.
Lester said that Dickie was
gonna be cleaning it out soon.
You find someone who
doesn't have a hankie.
Find someone who doesn't have a hankie.
I can do that. That's no biggie.
That's a smallie.
That's a very small thing because
[STAMMERING]
I say, "Hey, a thankie for a hankie."
[CHUCKLES] But I'm not gonna do that.
I will find something int
More interesting to get it.
OLIVER: These are the pages?
Why aren't they in order?
Well, they weren't numbered
when you sent them to me,
and most of them are
on old takeout menus.
Oh, okay. So, the stuff
written on the appetizers page
goes before the stuff
written on the main courses.
Also, wh-where's Loretta?
I left two messages. Nothing.
Well, keep trying, please, Howard.
[KIMBER SIGHS]
- This feels weird.
- JONATHAN: Why?
Because this production
is littered with red flags,
and we're in our director's apartment
instead of an actual rehearsal studio?
Oh, hey! Hey.
Remember those hankies that Ben gave us?
What if we each found ours
and just showed them to each other?
Or me? Show them to me.
Sorry, we're all a little distracted
with our leading man,
you know, being dead.
Oh, yeah. Well, that that makes sense
because losing anybody
is hard. Well, not anyone.
Not like a Hitler or a Stalin.
Though, I would not want
to diminish the grief
of Mrs. Stalin. And yes,
I know she has a name.
Uh Oh, Nadezhda
[MISPRONOUNCING]
Anyway, the point is Ben is dead!
And I think it would be healing
for us to come up with a memorial.
That's why I brought up those
hankies in the first place
because wouldn't it be fun
Oh! Not fun, but good,
to take what Ben gave us,
those hankies, and
use them to create a
quilt.
Or a quilt-type object?
[SNIFFLES]
What were you saying about Hitler?
[WHISTLE BLARES]
- Thank you, Howard.
- [WHISTLE BLARES]
I said thank you, Howard!
I sense a great deal
of sadness in this room.
We've lost someone important.
I remember when my mom passed.
Some of you are probably thinking,
"Isn't he too young to have
lost a parent?" I'm not.
I lost her, and it wrecked me.
Big time.
But she kept teaching
me from the beyond,
my mommy girl.
Do you know what she said?
[RASPY VOICE] "You can't let
death stop you from livin', kid."
[NORMAL VOICE]: Mama was a smoker.
So, who's with me?
Who wants to keep doing the play?
[LIGHT APPLAUSE]
Who wants to bring Death
Rattle back to life?
KIMBER: Yeah.
And turn it into a musical?
[ELEVATOR DINGS]
Oh. Hi.
Hi.
You're going to the penthouse?
Oh, yeah.
I left some equipment at
Ben's I need to pick up.
Doing a documentary on him.
- Ah. Right.
- Or, was.
You're the guy with the name.
It's Tobert. Robert with a T.
My mom was insane.
No, I get it. I am a Mabel,
so
Are you going to the
penthouse, too, or
Yeah, I have to pick up something.
Oh. What's that?
- Take your time.
- A signed headshot
- from Ben's Girl Cop days.
- Hm.
- Sure.
- He left it for me.
- TOBERT: Wow.
- I don't know where,
so I'm gonna have to look around.
- TOBERT: Sure.
- Maybe for a while.
Sounds perfectly reasonable.
And delivered so naturally.
- Oh, yeah.
- Please.
You need me to let you in?
[KEYS JINGLE, UNLOCKS DOOR]
MABEL: Wow!
[DOOR SHUTS]
This is my third time in this apartment
and I've never loved it more.
OLIVER: And all together.
Are you a creature of the night ♪
Is it you? Is it you? ♪
Of the night! ♪
Is it you? Is it true ♪
And you hold that note
And Charles, higher
And the Tony Award goes to
- Ah!
- [PIANO STOPS]
ALL: The night! ♪
So, that's our showstopper.
Do you love it, or do you love it?
I think it's brilliant!
Ah!
So sorry I'm late.
Ben's brother, Dickie,
he sort of offered to be my manager.
You know, he's been feeling
a little low lately, I think.
No, I love that. So, y-you
and he have become close chums.
Yeah, yeah. He's sweet, you know?
Anyway, he's got some really
great connections [LAUGHS]
and he made some phone calls for me,
and I got an audition!
- An audition?
- Yeah.
Oh, really? For what?
A network drama.
And it's an offshoot of an offshoot
of a Grey's Anatomy spinoff.
And it's for the mother
of a dermatologist,
so she has a backstory, Oliver. [LAUGHS]
And, uh, lines,
- you know? [LAUGHS]
- Oh.
And the producer said
they might give her a limp.
- Yeah.
- So
- It's juicy. [SIGHS]
- But can we go back to the thing
about my musical being
brilliant, you said?
Oh, yeah! So, anyway [SIGHS]
Making this into a musical is
odd, Oliver.
But, ironically, that might
be what makes it accessible.
You know, I was in the original
cast of Little Shop of Horrors,
when they were workshopping it.
Uh, back then, they were
calling it Eat Me, Seymour.
Feed Me, Seymour!
- That was it.
- Yeah, Feed Me.
And nobody got that
show either, you know?
Because it's a singing plant.
It was just like [LAUGHS] lunacy!
But it worked.
Why? Because, at heart,
it's just a simple story of a boy
who would do anything
for the girl he loves.
You know, it didn't matter how
big and loud and crazy it was.
It was just because it felt true, and
- Exactly. You get it.
- Yeah.
Everybody! Loretta gets it!
We can be as wild and
exciting as we want!
Yeah. And Ellen Greene got that part.
- Yeah.
- She was good.
She was great!
It was a big hit. And
we could have a hit,
as long as we find the heart.
- Oh, absolutely.
- Yeah.
We are gonna have so much heart on stage
that even cardiologists in the
audience are gonna be screaming,
"That's enough heart for
me! Thank you very much!"
Wait, who's gonna be screaming?
- Okay, let's get to it.
- Oliver?
From the top. Ready?
How's the headshot hunt coming?
Uh, maybe it's under this
marble snake egg from CoBro.
Nope.
- Any luck finding your
- TOBERT: A boom mic.
Left my boom mic here before Ben died.
Um, so now, I'm just
just looking for it. [SIGHS]
You think your boom mic is in a drawer?
- Listen, Margo
- Mabel.
I'm sorry. You were making
fun of my name, Tobert?
You know what, we're both
clearly up to something
and we're both clearly
pretty shitty liars.
So how about we do this? You do you,
and I'll do me, and I'll do me,
and then we can both
[KEYS JINGLING]
Oh, shit. Uh
- Armoire. Now!
- What, why?
[DOOR UNLOCKING]
[BOXES RUSTLING]
[WHISPERS] He's still packing.
[WHISPERS] You're looking for
something for your podcast.
Thought I recognized your voice.
It's funny, I kinda had a mental
image of what you look like.
[FLASHLIGHT CLICKS] You
are not what I expected.
Okay, so you listened to the podcast.
I liked the first season a little
better than the second season,
but it was cute.
- Cute?
- I mean, I liked it.
Thanks. I know it's not the high art
of following Ben Glenroy
around with a GoPro,
- but we tried.
- DICKIE: Dammit.
[GASPS]
Goddammit, Ben.
[GROANS] Why?
[PANTING]
Sorry! [SOBBING]
I'm so sorry, Ben.
- [PHONE RINGING]
- Oh.
- [CLEARS THROAT]
- [ANSWERS PHONE]
Go for Ben. Or, g-go for Dickie.
Uh, yeah, I'll hold.
OLIVER: One and a-two!
- [INTENSE PIANO MELODY]
- And here come the crab men!
CHARLES: The what?
- [RATTLING]
- And the crab men are breeding!
Breeding! Breeding! Breeding!
- [PIANO CONTINUES]
- And now, cue the nanny!
Who goes there? ♪
ALL: The creatures of the night! ♪
- [PIANO STOPS]
- [RATTLING]
[PANTING] Well, it's a start. Uh
Give me, uh, one or two seconds
t-t-t-to collect my thoughts.
- [DOOR SLAMS]
- [OLIVER SCREAMS]
You're screwed, Putnam!
- [SCREAMS]
- [OBJECTS CLATTERING]
Your dreams are dust now! [CLANG]
Welcome to Hell! And
you're your own Satan!
[GENTLE KNOCK]
OLIVER: Yes?
Like a good neighbor,
State Farm is there ♪
Ow, ow, ow!
I'm just saying that
maybe alternative financing
- might reduce your stress.
- Don't touch me.
Well
Guys, we are so, so close.
Why don't we start fresh
tomorrow morning?
Yeah.
Yeah, it's always best to
end when you're on a high.
[BOTH LAUGH]
- Or near a high.
- Oh, yes.
[BOTH CHUCKLE]
Look at them. Bonding
over their hatred of me.
Nothing brings people
together like a common enemy.
That, or a good cheese plate.
♪
Actually, that might be my in.
Oliver,
how would you feel if I
threw you under the bus?
[GROANS] Knock yourself out.
I was about to throw
myself in front of one.
[DICKIE SIGHS]
[SIGHS] I didn't mean to
insult you earlier, okay?
I shouldn't have led with the word cute.
I actually think your
podcast is innovative.
It's smart, it's unpolished
in a refreshing way.
Feel free to leave a five-star review.
And it was cute.
Before this job, I was
in Botswana for a year,
tracking this incredible herd
of elephants. Have you been?
I do most of my elephant
following at the Bronx Zoo.
Botswana, I strongly recommend.
The landscape, the people, the food.
Oh God, you gotta try vetkoek.
It's this amazing fried dough,
you can put a whole lot
of different things in it.
Minced meats or these great curries.
I actually found a terrific
place in Jackson Heights.
I go every morning for one
with a little bit of jam.
Uh, it's on, I wanna say 87th and
Am I rambling?
Maybe less dough, more elephants.
Okay. So, there's this
place, the Okavango Delta.
Three times a year, the basin floods,
and thousands of
animals, I mean thousands,
they all descend in one place.
And I was there for weeks alone,
just perched in a tree,
watching nature, in all
of its intimate beauty.
And horror.
♪
Anyway, um, there's this one time
where I'm perched up in the tree,
and I'm looking out, and
I see this baby elephant
getting stuck in the mud.
And, you know, I'm up in a tree,
but I'm also at a crossroads
because should I hop down
and save the elephant?
Or should I do my job
as a documentarian,
and just film what happens, you know?
And with flooding, it's
tricky because you gotta
Okay, not that I'm
not enjoying this
National Geographic moment,
but if Ben's dead,
why are you still here?
Why not hop on a plane back to Botswana?
Because Ben's dead.
I mean, "famous star
murdered by his biggest fan."
Yeah, Dickie ended my contract,
but there's an incredible story here
and I have a really unique access to it.
♪
You know, I was with Ben opening night,
and he ripped away my camera, and
stormed off into his dressing room,
but it was still recording.
Footage from the night he died.
That's what you were looking for.
That's what I found.
- Let me see it
- No. For your podcast?
Yeah, right.
- Wanna tell her
- Shh!
- DICKIE: Yeah. Okay.
I will, uh, I will let her know.
And, yes, hopefully,
I'll see you there. Okay.
♪
[SIGHS]
Alright. Well
- Take care, Madeline.
- Mabel. Wait, Flobert!
What happened to the baby elephant?
- In the mud?
- [SIGHS]
Well, I couldn't just sit there,
so I jumped down, grabbed some rope,
and worked for three
hours to pull it out.
Wow.
That's amazing.
I'll see you around, Mabel.
Ta-ta, Tobbie.
[DOOR OPENS]
[DOOR SHUTS]
Did it ever occur to Oliver
that maybe the problem isn't
us? Maybe it's the material?
- Yeah, Oliver's bad.
- Exactly. I mean,
I don't get anyone's
intentions in this thing.
Mm-mmm.
Like, now there are crab men,
and they're breeding. But why?
For me, it's the way that Oliver yells.
Yeah! A-And what about his
hair? Who needs all that hair?
N-No, I think we're fine with his hair.
- TY: I like his hair.
- BOBO: I like hair.
Hey, you know what I was just thinking?
What if we took all of the
hankies that Ben gave us,
and we threw them at Oliver's feet?
That would make a statement!
And then I would pick up the
hankies later for the quilt.
- I'll bring my hankie tomorrow.
- Same.
- Me, too.
- CHARLES: Awesome.
- Because I would take them.
- KIMBER: You know, I've
I've been kinda numb since Ben died.
I-I keep wanting to feel something.
You know, to cry, but
- I can't.
- Are you on Xanax?
No. Why? Do you have some?
- No.
- KIMBER: Either way,
we should totally demand to
go back to the straight play.
This musical version of
Oliver's is disrespectful
to Ben's memory, right?
- Yeah.
- Yeah.
So, Charles, you'll tell Oliver
we're not gonna do the musical, right?
Yeah. We're not gonna do the mu
We're not gonna do the musical?
Great. You got it.
Oh, I'll tell him.
[FOOTSTEPS APPROACH]
OLIVER: Everyone else is gone.
Oh. I was just looking at the
song ideas you have sketched out
on this Chinese food menu.
Hm. [SNIFFS]
I have to say, your
lyrics make me feel
hungry.
[BOTH LAUGH]
[OLIVER SIGHS]
Here we are again.
At the piano. [AWKWARD LAUGH]
- Like
- Oh, I'm sorry. Yes. Um
This is not my best day as a director.
That was
in 1988, when I got my Tony.
Tony was a dog I owned.
[LAUGHS] And yes, I-I did choose
that name to confuse people.
I love how all of your stories
always end miles from where you start.
Ah. Thank you. [LAUGHS]
[SIGHS]
What do I have to do
to get people to see what I see?
Hm.
Can you help me?
No, I'm afraid not.
[LAUGHS] I'm kidding you. [LAUGHS]
What about this one?
- This one.
- The Nanny's Lullaby.
- Yeah.
- Okay. No, I know it.
[GENTLE PIANO MELODY PLAYING]
[FRUSTRATED DISCORDANT CHORDS]
- Oh, what?
- Nah.
Come on. Oliver, that is good.
I-I promised Donna "Oliver Putnam,"
meaning big and loud and big.
Yeah, but I think we all know
that you are more than just loud.
What I love about
Oliver Putnam's shows is that
underneath all the bombast
and the chaos and the
breeding crab men,
it's just, there's a vulnerability.
That's what makes
Oliver Putnam
special.
[DOOR OPENS, SHUTS]
A-As a director.
- Hello? The door was unlocked.
- OLIVER: Oh.
- Hi!
- DICKIE: Oh good.
I was hoping you'd still be here.
- Yeah.
- You got the part.
I what?
Grey's New Orleans Family Burn Unit.
- They called. They love you. [LAUGHS]
- Oh no! Oh, Dickie!
- I couldn't get 'em off the phone!
- Dickie! [LAUGHS]
I'm the mom in the family
in Family Burn Unit!
Oh, my God! [LAUGHS]
- And I get a limp! Oh!
- Oh.
I can't believe it. Pinch me.
I'll do you one better. Congratulations!
- [LAUGHS]
- Oh, thank you!
It starts next week in LA, so we
have to let 'em know right away.
- We do. [LAUGHS]
- Wait, wait. Excuse me. I-I'm sorry.
It sounds like a wonderful
opportunity, but
she has to be here
for the play next week.
Yeah.
Oh Okay.
Well, is there any
flexibility on their end?
There's really not. It's
a guaranteed season pickup.
That's stability, right?
No more scrounging for work?
[SIGHS] I know
Yeah, okay. So
Sure, then [SIGHS]
Well, Oliver, I
You cannot be serious.
What about our show?
- Yeah.
- What about the last few months?
Well [SIGHS]
I will always cherish this time.
- I discovered you.
- But, I Yes.
That's not a reason to punish me.
Oliver, you lost your leading man.
You're trying to make this play
into a musical
- [LAUGHS] that you wrote in
- She's under contract.
♪
[SIGHS] Oliver, I
You're under contract.
Sorry.
[DOOR OPENS, SHUTS]
Fuck!
♪
[CAFE CHATTER]
You enjoying your morning vetkeok?
I didn't feel you swipe
that drive from me.
I gotta hand it to
you, you got the touch.
MABEL: What's the password?
I need to know what happened right
before Ben collapsed on stage.
Well, you're in luck. I'm making
a movie about exactly that.
I can probably get you a ticket.
This isn't a joke. This is urgent.
I need to find who killed Ben.
They know who did it. The
stalker guy in jail did it.
[TOBERT SIGHS]
You're not in Botswana
anymore, Robert with a T.
This is where I do my work.
And I'm really good at it,
even if you think it's just cute.
I didn't get out of that tree.
The baby elephant thing. I lied.
I didn't get out of the tree.
I kept filming as it got more and
more tired, and more and more stuck.
♪
- God.
- Its mom came back, finally,
and saved it, but
if she hadn't, I would've kept filming.
That elephant, that baby elephant
slowly drowning in the mud.
Jesus.
Look, if you think Ben's
killer's still out there, then
I don't wanna stay in the tree again.
♪
CHARLES: Hi.
Hi?
Before I tell you what
I'm about to tell you,
I need your assurance
that you will not be angry.
No.
No one wants to do the musical.
Oh.
No one?
Well, the cast. Most of
the people who would do it,
they don't wanna do it.
Ah.
They don't wanna do the musical.
That's fine.
Perhaps they'd rather I
take this spoon, and stab
myself in the eye with it!
And just stab and stab!
So I'll be too dead to be humiliated
when Donna and Cliff get here,
which is five minutes from now!
I-I think they're just scared.
They don't understand the
show. And I don't either,
to be fair, but I come from television,
and I was trained not
to question a script.
LORETTA: I can't even
afford the supplemental.
So, how am I gonna get
[SIGHS] You're here.
[SCOFFS] Well, I am
still under contract.
- Dickie, would you mind?
- Oh, sure.
I am so, so sorry.
I was horrible.
And this is no excuse.
I was just scared of losing you.
Also, I haven't eaten for many weeks.
You do know that you're holding
a spoonful of cream cheese.
[SPOON CLATTERS]
You're right. You're right.
I'm a liar.
But, you understand me, Loretta,
a-and that's been a rarity in my life.
Why aren't we singing?
I was hoping you would do me a favor.
Just one, um,
before you leave for LA
and take Hollywood by storm.
[SARDONIC CHUCKLE]
I'm not gonna enforce the contract.
I couldn't. The world needs to see you.
[HAPPY SIGH]
Well, what's the favor?
Will you sing the lullaby?
Wha The We haven't
even rehearsed it,
and there's no choreography.
And, you know, certainly
not a showstopper.
But it is the show.
And you're the only one who sees it.
- Can you help them see too?
- [DOOR OPENS]
I'll give it a shot.
Let's get this over with because
I'm already "Amagansett sober."
[GIGGLES] That's what Mom calls drunk.
Ah, good. Maybe she'll
be more forgiving.
Alright! Um, slight change of plans.
Uh, we're not doing Creatures
of the Night anymore.
But wasn't that your
opening showstopper?
Yes, and it will be,
but it's not yet, a-and that's my fault.
I'm sorry.
But I-I
do have something for you.
And
I think it might hold
the heart of the show.
Okay, let me set the scene. It's
late at the Pickwick Lighthouse.
The triplets cry out in the night.
Their mother has died,
but they're not alone.
For their nanny is
there, looking after them.
[GENTLE PIANO MELODY]
Hush, little one ♪
Let me sing you to sleep ♪
Moonlight has come ♪
Now, drift off to a dream ♪
Sail from the day ♪
To the wonders awaiting you ♪
Out there in the deep ♪
[PIANO CONTINUES]
You're not supposed to be here.
There was someone in his dressing room.
BEN [ON VIDEO]: Go!
No, you're not gonna go, are you?
Y-You're just gonna sit there,
acting all sweet. [SCOFFS]
We both know you're bad.
Off, little one ♪
Chase the wind on the waves ♪
Adventure is calling ♪
So, go and be brave ♪
But if you get lost ♪
As you're tossed in the dark ♪
Of the sea ♪
Look for me ♪
I will ♪
Wait at the shore for you ♪
I will ♪
Weather each storm ♪
Standing by till ♪
Safe, you return ♪
From the night ♪
My love is a lighthouse ♪
♪
So, darling ♪
My darling ♪
Look for the light ♪
KIMBER: The light ♪
The light ♪
The light ♪
I'm sorry, Oliver. It's
a lovely song, really,
but I can't risk Cliff's
first producing
We're in.
Mom, we are in.
Do you remember what my doctor
told me on my 8th birthday?
That it was time to stop breastfeeding.
And what did you say?
That you should never give up
on something you love.
CLIFF: You made me believe that, Mom.
I know this is risky, and
I know you've always told me
that my first show would be
the most important one, but
I love this musical.
I don't wanna give up on it.
[LAUGHS]
BEN [ON VIDEO]: I want you.
I want you so fuckin' bad
but you're gonna ruin my career.
- And I'm gonna like it.
- OLIVER: I'll miss you.
I cannot thank you enough.
I'm staying.
You discovered me, Oliver, and I
decided I like being found.
Oh, my God, I could kiss you.
[LAUGHS]
[MUSIC SWELLS]
- That was so beautiful.
- Thank you, Charles.
I feel so much lighter.
About Ben and this musical.
I-I really feel like it can work.
- Yeah!
- [LAUGHS]
Oh, and any time for that hankie.
Oh.
Yeah, I really wanted
to give you my hankie,
but I must have thrown it away.
Or donated it to a good cause.
[SONG CONTINUES]
[PHONE BUZZES]
Look for the light ♪
The light ♪
- The light ♪
- The light ♪
The light ♪
BOTH: I will ♪
Wait at the shore for you ♪
I will ♪
- Weather each storm ♪
- Standing by ♪
- Standing by ♪
- Standing by till ♪
- Safe you return from the night ♪
- Safe you return ♪
BOTH: From the night ♪
My love is a lighthouse ♪
KIMBER: When a spark
finally catches fire,
and everyone can see it, then
the only place you wanna be
is at the center of that fire.
So, darling ♪
My darling ♪
KIMBER: But if one person is shining
a little brighter than the others,
sometimes you can't help it.
It's a competitive business.
You may need to snuff them out.
Look for the light ♪
The light ♪
[ALL APPLAUD]
[ECHOING APPLAUSE]