Original subtitles

- The Black Dahlia, the Zodiac Killer, the Balance Murders--

[♪ suspenseful music ♪]

Infamous unsolved crimes that have fueled

the tabloids for decades.

- 30 years ago, this very night,

best-selling horror author Bernard Balance was found

brutally murdered, stabbed 87 times

with an unidentified weapon.

- The dude wrote dozens of bestselling books filled with

blood and murder, and he's found stabbed to death,

like, 1,000 times in his giant mansion?

- In a long-anticipated live special,

entering the home of famous horror author Bernard Balance--

- Hosts Roberta Muffin and Frasier Ralph

are taking a fresh approach to the infamous Balance cold case.

- Put an end to the speculation once and for all tonight

on live TV.

- There's just so many insane details here.

- The Balance Murders have fascinated me for as long

as I can remember.

- His kid's dead.

His wife was always shady and a magician.

You just can't trust these people.

- By focusing their special on the personal stories

behind the famous bodies found that night--

- Frasier and I will sift through those stories

of Bernard and Sydney Balance in a way that only we can.

- Roberta and Frasier are reinventing true

crime and re-enacting the lives of the Balances for all to see.

- They themselves are playing the doomed couple,

and the hosts are also a couple?

How's that for couples counseling.

- Tell us what it was like living

in the shoes of the famous widow

Sydney Balance in your carefully

scripted reenactments.

- They hope to uncover new clues and maybe break the case.

- I've been waiting decades to find out who done it.

- After 30 years, will anyone ever

finally step out of the shadows and take responsibility

for these crimes?

- Now tell me who done it!

- Tonight we seek to solve these previously

unsolvable mystery.

[thunder rumbling]

[♪ mysterious tune ♪]

♪ ♪

Sunday letter number 218.

I'm handcuffed to you.

You closed the cuffs the second the curtain opened on us.

Do you remember it feeling that way?

For me, it was the opening of a story so unfamiliar and

so unknowable that, to file it under horror

would be ironically fitting.

My hand goes cold as my circulation is cut off,

but I don't want a hidden key to unlock us.

I'm going to die chained to you.

- Wow.

People actually read this guy's books,

like, all the way through.

- Well, he did write about murderers

and monsters so gotta allow him some poetic license.

- It's all so dramatic.

- Have you been practicing.

- Well, no, not so much because I

remember saying to you that it was ridiculous

that I was wearing this contraption on my finger

and trying to do these stupid magic tricks

for the whole show, and you said, OK.

- I thought we decided that, I don't know,

considering the story, a bit of magic

added to the campy, fun vibe.

- Yeah, a campy fun vibe of murder.

Sure.

- Splashy.

- It quite literally isn't.

And when you say we decided--

- They already made all the fire paper, Fries.

- Fire paper made very, very dangerously

by our art department.

Also it's called flash paper.

- Oh, even flashier.

And, yeah, it's a tabloid driven murder mystery, Frasier.

It's supposed to be salacious and melodramatic

and what is this.

Have you been weird the past few weeks, or am I--

you're not nervous about the show, a scared widdle baby,

are you?

- I'm not a scared widdle baby.

- Then you are gonna be a flippin' superstar.

Hey, you're great in the reenactments

and you're a charming host and you, my sweet, baby love,

are gonna be in the world's brightest spotlight tonight.

You deserve it.

[♪ eerie music ♪]

- What do you deserve?

- You with your magic hands and fire paper.

- It's called flash paper.

And it doesn't work. - Practice.

It'll work.

And you're mixing up the cue cards again.

- Yeah, whatever.

I'm off book.

Oh, oh, OK.

We gotta go.

- You said the whole point of doing this live

was the spontaneity of it.

- Life's not giving us warnings about time but Frasier--

- Roberta--

[distant yelling]

- I can't believe we're finally here walking into this house

with you for the first time.

Quoting Bernard was a second ago.

It was a lifetime ago.

- Stop quoting murdered people in the context of our lives.

- OK.

- Well, it is the job, but--

OK, no, sorry.

This is gonna keep following me.

I told Jess to leave this chest of letters

in a more dramatic place that lends to the reveal

and not somewhere randomly on the floor because she's insane,

and she's probably over--

- You're doing your intense Roberta thing.

- And you're doing your weird Frasier thing.

- Just be careful with these letters, OK.

They're very delicate.

- I'm OK.

You don't want me reading the letters

and inferring that Bernard loves Sydney

because you love the idea of Sydney

as a witch being burned at the stake by Bernard, the monster.

30 years of speculation and rumors and witch

hunts, I just--

I just-- I wanna go where the evidence takes us.

- And the evidence is clear that they

loved each other for years and years before the murders.

- I give up.

I give up.

[♪ intriguing music ♪]

♪ ♪

- Whatever happens, we're gonna do great.

- No, no.

No, you're gonna do great because you're--

you're unstoppable.

- I've got you as my secret weapon.

[creaking]

- Aah!

- Oh, shit.

OK?

- Someone is going to die tonight.

Jess, those steps are still a problem

like the letters on that--

[overlapping speech]

- All right, people, we are on an 8.

Let's get ready to create a live TV special.

- Not your best, Lex.

- Well, I--

I'll try to keep it light and fun in the creepy murder house.

- Why is everybody trying to keep it

light and fun if it's serious?

- Right.

I was supposed to tell you, but I got lost and forgot.

Lightning's inbound.

- Lightning?

- Yeah, yeah.

Well, how did I get down here? - How inbound?

- 40 minutes.

- Wait, 40 minutes from when you were supposed

to tell us 20 minutes ago?

- Yeah.

40 minutes from 20 minutes ago. Yeah.

- Great. We're great.

[flame sparks]

[groaning]

When is this all over tonight?

- Oh my God, after all these years of planning--

- No, just could you-- if you could just listen.

Please.

I have something I want to say.

- I think it's really cute how worried

you are about all these little details and the apparent subpar

quality of the fire paper.

It's very sweet. - Flash paper.

And it's not cute and sweet.

It's called nitrocellulose.

It's made of sulfuric and nitric acids,

and it's actually very dangerous and

extremely delicate even when made properly.

And if you could just stop interrupting me for a moment,

I just--

- Oh, Detective Bates, did anyone show you where you're

sitting for the interview.

Because you're sitting over here for the interview.

- Well, sitting doesn't agree with me.

- I'm-- I'm a little nervous.

- Join the club.

- Clubs don't let me join.

- Well, let's get sitting.

We are live in 5.

- Live in 5!

- Ms. Muffin, ma'am.

- Hmm.

- Do you think people will be watching this thing?

- Well, that's the plan, Detective.

A lot of people are really excited to see

what we dig up tonight.

There is no need to be nervous.

Just think of it like one of your live press conferences

30 years ago.

- That's exactly what I'm nervous about.

I mean, we were-- were a sweaty disaster.

I was demoted.

My wife--

- Let's not think of it anything like those live press

conferences. - It's cool.

That's totally--

- Oh, dear.

- Look, we know your story.

We've read all the interviews.

Frasier has done so much research

on every little detail.

All that's gonna happen tonight is

we'll have a little live chat.

I'll ask you some questions.

We'll get your perspective on the case and what you saw--

- We are on in 3.

- You know what makes true crime so unsatisfying?

We know they won't solve it at the end.

Otherwise, we would have heard.

Tonight, being live, that's what gives this thing an edge.

Lives could change tonight.

- Come on, babe.

We gotta go.

[♪ mysterious music ♪]

♪ ♪

- Hey, look, before we start, I--

I have some doubts--

- Hey, seriously please.

We've gone through the case.

We've gone through the script.

It's all working great.

- No, no, you're not.

It's-- it's not all working great.

So if I-- if I needed to tinkle during this,

who would I-- who'd I see about that.

- What do you mean?

- Where do you piss?

[♪ eerie tune ♪]

- I'm listening.

I wanna hear I'm here.

- And I'm telling you, I need to piss.

- You always say that you're here, but--

- 5, 4, 3, 2--

[bell ringing]

[♪ mysterious music ♪]

♪ ♪

- We're here live with Detective Cornelius Bates, Sr.

- So where do we land on the whole pissing?

- We landed on.

We're live right now.

- What, right now right now?

[thunder rumbling]

- At just 28 with only four years' experience on the force,

you were promoted to lead detective of the whole shebang.

- There's my title, leader of the shebang.

No, it was detective-- detective--

Detective Bates, Lead Detective Bates.

- You were put in charge of one of the most

infamous murder cases the country has ever seen.

You were everywhere.

- No, it's a job, ma'am is to be

everywhere, protect everyone.

- But you couldn't protect the Balances

or bring their murderer to justice, could you?

- That's a real dick thing to say.

- Detective, why do you think that you

were promoted to lead this investigation

at such a young age?

- It was a real rat fuck, see.

[moaning]

Yeah, brass knew this was a media circus.

It was gonna make 'em look bad.

Yeah, there's too many gory details,

too many conflicting clues.

And then there's the famous author and all of his little,

you know, the--

the things he wrote--

oh, you know, the--

- Books?

- Well, I mean-- but he wrote books, you know,

them horror books, murderers and bloody ghosts and--

and then he goes gets stabbed 87 times up the wazoo,

just like in one of his--

- Books.

- It's not the word.

Look, no one would touch it because-- because they

knew they ain't gonna solve it, especially little rural police

department like ours.

It took them three months to find Gordon LaRue's snowmobile,

and the tracks led right up to Gord Shaw's shed.

And here we had-- we had footprints leading nowhere,

you know, personal effects found in the woods,

kids, fires, magic.

I was thinking, this is my big break, but they--

nah, they just wanted to make me look like a fool.

So they threw me to the--

- Books?

- The Balance case changed my life.

Changed me.

I changed.

I used to be smitten with life's little treasures,

you know.

But--

Mind if I smoke in here?

- You can't smoke in here.

- I'm gonna smoke in here.

[distant thunder]

- So your working theory--

- May still the official theory of the Simko PD, Ms.

Muffin, ma'am.

- Well then let's break that theory over the coals

and fan the flames on Cornelius Bates, Sr.'s story.

- Anyone got any matches to light this thing?

Also can I piss?

- Still live on air.

- Ow, ow, ow, ow, ow.

[♪ mysterious piano ♪]

♪ ♪

OK, so the wife did it, right?

♪ ♪

- You're on fire.

- Thought I'd try a classic Italian breakfast.

- No, no, no, you're on fire. [gasping]

- Oh.

[yelping]

- I have nothing against Sydney Balance.

- Hey, you should give that to Noah.

He'll-- he'll love it.

- Except for the murders of her husband and son.

- Pancakes for you.

- Whoa!

Noah, where'd you come from, Mr. Magic.

- Dad, please.

I can't reveal my secrets.

And it's Noah the Notable Now.

- Noah the Notable Now.

OK. Got it.

I don't need any pancakes, but are you

not going to offer me some of that black slop

that you're making for yourself.

- Ooh, I want some black slop.

- No, no, that's not for kids or adults.

- Mmm.

It's a good one today, ginger, ginseng, patchouli,

eye of newt, which, did you know they sell down at the IGA

right next to whatever cream of tartar is.

- Which I don't think it's going to agree with me.

So I'm just going to get some wet bacon and dip.

Mmm. Come here.

Over here.

[giggling]

- Wet bacon and dip.

Title of your next book?

- No, that's not nearly scary enough.

[giggling]

Love.

- Whenever I spoke to her, she seemed,

you know, sad, not sad enough.

Couldn't quite put my finger on it

then but, thinking about her now

watching your little reenactment sitting here--

[♪ Aaron Esposito and Katie Chastain, "Beautiful Dreamer" ♪]

♪ ♪

She was acting.

- So that's Mr. Dad writing for 12 hours

and still not fixing that turntable so that it

plays literally anything else.

So why would he?

♪ ♪

How should we spend our time?

- I wanna do Moretti box.

- I told you, no, no.

You're not climbing into a box of swords.

Too dangerous at your age.

If the man upstairs found out--

- Come on.

No one's ever died in the box.

Will it catch?

Sure, not 'til I'm 12 but the box?

- Show me what you worked on last night.

♪ ♪

- And a ricka boo ba dilly!

- Wow.

OK, we have our own magic word.

[distant yelling]

[clangs]

So your timing with the pant leg and the shoe shake

needs a little tightening.

Nothing some practice can't solve.

Let's see.

- Thing about Sydney, well, she just

thought she was destined for greatness or some silly thing.

And every time I spoke to her, it was like she was off

somewhere else daydreaming.

- Daydreaming?

- Maybe both.

- You're getting so tall now.

I'm gonna have to alter your pants again soon.

Everything OK?

- Yeah.

Yeah, coffee spilled all over everything

just as I was finally getting the description right.

Armand's throat getting slit.

It opened like a--

well, I lost it.

Hey, can you either teach him to tie his shoes

like a normal person or get him to take

his shoes off in the house?

Thanks.

- When she met Bernard, she thought she fell in love.

But before she knew it... [clap]

rick a boo ba dilly.

- Well, Bernard seemed like a decent enough man.

- Particular.

Needed everything done his way.

- Yeah.

He's used to being in control, writing

stories where he was the puppet master of the universe.

- Literally the job of any writer.

- So Sydney ends up here, sharing a life with a man whose

life is shared with everyone.

A few years later, there's a kid,

and he's got her trapped like she's in the chamber of one

of her old magic dealies.

- And there lays a trick she can't escape.

- People are probably wondering,

if she felt so trapped and unfulfilled,

why would she not tell her husband?

Why, in your theory, does Sydney, seemingly out

of nowhere, snap and bring it all to a bloody end?

- If we could answer that, there'd be no heartbreak,

no betrayal, no crime.

- Tell us about the letters.

- Early on in their relationship,

they promised to write each other every Sunday.

I read every letter, hoping there'd be a clue.

- Here's a clue for you, Bernard.

- Ultimately, they were mostly just hokey love letters.

- I love you, and you don't have to be Agatha Christie

to figure that out.

But sincere, Bernard Balance and the obvious

seems to escape you.

The answers are all right here.

- Her letters were always so sweet, loving.

It's like she was--

like she was trying to convince herself.

We'll call it whatever, but, by the end,

he wrote a Sunday letter every single week, 321 letters.

And she wrote 206 at least that we could find.

So what does that tell you?

- But surely an imbalance in love

letters doesn't make a murderer.

- No.

Ask my ex-wife, it does.

No, despite what she said in her letters,

Sydney was not a happy woman.

[clacking]

[ding]

Sydney wanted to break out of her chamber.

She was tired of simply being the wife of Bernard Balance.

[rustling]

- You get in the way of me throwing a tantrum the way

I like.

- She told me she tried to tell him this,

and he wouldn't listen.

But who knows what lies she wrapped herself

up in to sleep at night.

- Bernard, we shouldn't be getting

in the way of each other.

This isn't how this should work.

I shouldn't be the one to stop you from throwing a tantrum.

You're right.

No, you're right.

So I'm going to throw one right now.

[screaming]

Aargh!

Grrr!

[growling]

Oh, shit.

I got you a gift.

[thud]

- Please let me be heard.

Just sit down and-- - I'm sitting.

I'm sitting.

Come on, open it.

- I've asked you not to--

- Open sesame.

Come on, get your little magic fingers here.

Come on.

Open, open, open.

[♪ mysterious music ♪]

♪ ♪

First advance proof copy for you.

- To my sweet Sydney, the only person

I'd ever let see my first drafts forever and ever.

This is a proof, not a first draft.

- Well, yes, because I frankly pulled a ton from the last year

of our lives as inspiration.

I didn't want you to get upset, so it's published

but it's a metaphor anyway.

So--

- Detective Bates, in cases of domestic homicide

you've seen or studied, how often is it

that one or maybe both partners are

truly, madly, deeply in love?

- I'm truly, madly, deeply in love with you.

- They don't call them crimes of passion for nothing.

It's gotta be passion in there somewhere.

'Cause I saw it with my own two peeps.

[♪ eerie melody ♪]

♪ ♪

- Carl said crime of passion.

Nobody warned me it looked like a God

dang Valentine's Day card.

At least it doesn't look like Valentine's Day chocolates.

They say that happens sometimes.

♪ ♪

Other than the blood contained to the chair

indicating the body wasn't moved,

the room's clean but not quiet.

- Bernard Balance likely died as he

watched the woman he loved and trusted

more than anyone else in the world stab him 87 times.

[♪ soft piano ♪]

♪ ♪

- Victim's right hand shows signs of the blood either being

wiped clean or looks like some kind of residue

under the fingernails.

Could be chemical, preventing the blood from sticking.

We'll get forensics on it.

Do we even have a forensics?

- We discovered a highly flammable chemical compound

in trace amounts on his hands.

Same chemical was found all over the attic

where Sydney's stage illusions were kept.

And it's a common element in

a lot of professional magician's

bag of tricks.

- Well, was this chemical found on Sydney?

You must have taken samples from her--

her clothes, her skin?

- Well, yes, but, I mean--

well, no, nothing was found on her that night.

- Well, maybe you should stop saying

that she did it since the evidence doesn't agree.

- That's what her lawyer said.

- And then there was the bonfire and Noah.

Surely the discovery of a highly flammable chemical and

DNA plus remains found in a bonfire

isn't just a coincidence.

- Well, Sydney was the only one who would know

how to handle that chemical.

And given the nature of the remains found

in the fire, it was burning incredibly hot,

hotter than any wood burning fire I've ever seen.

The neighbors ended up calling 911 because they saw smoke

and smelled fire.

They said it didn't smell like a regular fire.

- The chemical?

- Could be flesh.

- Flammable chemical or no, what could we prove?

Fire could be linked to anyone but Noah, but that's fire.

Burns everything away.

- So fire burns everything away.

Except Bernard's last story.

- It was unreadable.

We know Bernard constantly used their relationship

for his stories.

Who else would care to make a point burning

his last story if not her?

- My point exactly.

- That isn't the real point, Detective,

that despite your attempts, nothing stuck to Sydney.

- Not like the blood or the call

made to an untraceable number an hour

before the police showed up, when Sydney was

supposedly still at her show.

- But after 30 years, you still think it was her?

Why?

- It was simple.

It's always the spouse.

And if it wasn't, then I'd--

I've have slept every night for 30 years believing a lie.

I missed the real killer.

- Why kill her son if what she wanted

was to be free of Bernard?

- When you're out on the lake, midnight joyride

just bombing around, your snowmobile

flips lands on both your legs.

So do you pull out the old penknife and cut those limbs

and escape or do you freeze to death?

I'm sure he liked his legs, but his legs got in the way.

Now, Gord Shaw's got two stumps and a nice warm house

to show you.

Now I'm gonna piss.

- OK, yeah.

Go to commercial.

- And we're clear.

Back in 8.

Next block stays right here, so don't go far.

Got it?

Does anybody have eyes on the groundskeeper?

Let's find him and get him.

Mike, please.

[♪ somber tune ♪]

- Hey, friend.

Want to maybe cool it on the weed.

Nate said something about the burn story in the study and--

- Creative genius.

Look at you.

You're Sydney fucking Balance right there in that scene.

You're acting just like you want her to.

Really, you're not her.

[♪ eerie tune ♪]

♪ ♪

You-- you knew all along it was going to play out like this,

didn't you?

- Well, yeah, we did our research so--

- Well, I did most of the research.

- And I used the research to write

the reenactments like that.

So you were there.

We're telling a great story so far.

A story that you edited in a very, very specific way, right.

Your way, your way.

You-- you-- this is a different version

than what you showed me last and

you cut out the whole ending where Bernard

freaks out and yells at her.

- OK, yeah, yeah.

I cut to a different shot of Sydney's reaction

to Bernard leaving in the kitchen scene,

and I left out some stuff in the study in 13 Bravo

to leave some ambiguity going into the next interview.

It's just one theory, Frasier.

You don't have to agree with it.

There's others.

But I feel like that's not the reason you're getting high and

telling me that this, whatever that means,

isn't working great.

Fries, we're making the show we've been waiting years

to make, and you're kind of ruining it,

which isn't exactly new.

This is not the show that we've been waiting years to make.

This is not how it should work.

We should not be getting in the way of each other.

- Well, we should be getting to the study

because Bates's story about the burned story

just doesn't add up.

Why would she kill her husband and her son

and not burn the story that is supposedly so upsetting and

led to this chain of events?

Let's go.

- Berta, Roberta.

He handcuffed himself to her, and she searched for a key.

That's-- that's all this is just a key.

And-- and keys open doors.

- And the key to this mystery is in this room.

I can feel it.

- I think we know their ending, and that

doesn't have to be our ending.

Neither of us deserve that.

So we'll finish the show together,

and then we'll get to the big finale.

I will finish what I started, and then we're finished.

♪ ♪

[thunder striking]

- No.

No, you're--

- Do you think this is working.

- You don't know what you're asking.

OK, this is a stressful culmination of years of work,

and you shouldn't be saying things like this right now.

- I've been saying these things for a long time, Roberta.

You will thank me one day.

- Frasier, you do this.

OK, you freak out, and you spiral.

And I truly, madly, deeply, adverbly love you.

- Some people just aren't meant to be together.

- So we weren't meant to be together the past four years?

Prepping this show?

When I took you on that surprise trip

to Bruges at Axel's birthday party last weekend?

Yesterday on the couch, we were laughing

and eating dinner and going over our interview questions.

Where was all this shit then?

- You deserve someone who doesn't

care when you interrupt them!

♪ ♪

Look, Sydney and Bernard, they weren't meant to be together.

I mean, maybe some people weren't

meant to be with anyone.

- Like me?

- Like me.

♪ ♪

- I need you, Frasier.

You came into my life, and--

and everything made sense.

Every show I make, every story I tell, it's for you.

You're my audience.

I just want to make you happy.

- I'm not your audience.

The world is your audience.

The world was his audience, too.

Your stories, his stories, and the rest of us,

we get a dedication, if we're lucky.

- So what is it, Frasier.

You want to be in charge of the story now?

OK, OK.

So-- so-- so do that.

Take charge. Write. Direct.

I don't care, OK.

I love you.

I love you, and love is--

- A curse.

♪ ♪

- We will finish the show, and then you'll be free.

[sobbing]

[♪ intense music ♪]

♪ ♪

[screaming]

[thunk]

[♪ Aaron Esposito and Katie Chastain, "Beautiful Dreamer" ♪]

- I can't--

I can't do this without you, Frasier, any of it.

I--

- Get up, Muffin.

We're live soon.

[thunder rumbling]

♪ ♪

Roberta.

- Did you see that?

- No one stayed where I told them to.

Live in 3.

Everyone downstairs.

[distant singing]

[soft thuds]

- Come and look at this after.

Hey, if we wanna finish the show, we got to go now.

[squeaking]

- Frasier.

- Roberta, what are you--

- We can come back after.

[shushing]

Roberta.

- Let go of me.

- I'm trying to.

- There's something hiding back here, OK.

We just need-- the answer is right back here, OK.

- You're not listening to--

- You're not listening to me, Frasier!

- You never fucking listen to me!

Please leave it.

- Roberta, Frasier, 2 minutes, and we're

still missing our host and our groundskeeper.

Is anyone--

- OK.

You're right.

You're right.

I can listen to you.

I'll listen.

[♪ Aaron Esposito and Katie Chastain, "Beautiful Dreamer" ♪]

♪ Beautiful dreamer ♪

[thunder cracking]

♪ ♪

[thunder clapping]

[screaming]

- Where the fuck did you come from?

- I'm the groundskeeper.

I know all the little secrets of the house.

Close the door.

[♪ mysterious piano ♪]

♪ ♪

[ringing]

- Magic, that's what's kept this case alive in the public's

imagination for 30 years.

- The best illusions happen in the shadows

by people you'd never suspect, using methods that you

couldn't possibly imagine.

But one man might know more than he's letting on.

He might know who the real Sydney Balance was,

loving wife and mother, or something else entirely,

something that she kept secret from everyone,

except for maybe him.

- Webster Fizz, tell us your deal.

- In 30 years, you've never given an interview.

You were the only official suspect in this case,

and yet you've never gone on the public record

with your side of the story.

- You guys made the only offer I've been interested in.

- A $200 per diem for one diem?

- They say you can never go home, but--

[thunder rumbling]

I spent my youth taking care of this property.

You gave me the chance to come back.

[♪ suspenseful music ♪]

♪ ♪

Did you attend some co-collegiate?

I was a janitor there for a while after.

You look like one of the kids that set my chair on fire.

- Another criminal still at large

but not me and not the crime we're here to talk about.

- This house ruined you.

You were accused of murder, publicly scorned.

And considering that, why would you want to return here?

- My story's simple.

Sometimes bad things happen to good people.

♪ ♪

If you'll allow this old idiot another idiom,

I was in the wrong place at the wrong time.

[♪ Lukas Clay, "Murder in the First Degree" ♪]

♪ I met you a stranger ♪

♪ A beautiful danger ♪

♪ Your silence allured me ♪

[indistinct chatter]

[laughing]

♪ Equal parts caution ♪

♪ Unrequited hate ♪

♪ I fell for you ♪

- I'll make pancakes.

- Yeah, you know what I write better when I'm starving.

-♪ I'm only thinking of the lie you said ♪

♪ I dream of it ♪

- I'll take some pancakes.

-♪ And I dream you're dead ♪

- Sydney wasn't just a magician.

She was a witch.

She brewed potions, trying to get

what she wanted out of life through a cauldron

of exotic elements.

[♪ tense music ♪]

♪ ♪

- Not going so well?

- Let's just say bring me some bourbon

and more and that coffee.

- Which bourbon?

- The alcoholic one.

Title of your next book.

- Oh, almost forgot.

I got you a gift.

♪ ♪

- You got me my own book.

- Got it from the publisher this morning.

First proof copy.

- She loved a man who only loved the idea of her.

Near the end, whatever magic they had together was gone.

- Thank you for rubbing my failures in my face.

That'll be all.

- She did everything she could to try to fix it.

Everything.

[♪ Lukas Clay, "Murder in the First Degree" ♪]

♪ Please, darling I'm just stopping ♪

♪ Murder in the first degree ♪

- King of hearts?

- No.

- You were close with Sydney.

When did his music stop?

Obviously, you always maintained

your innocence, which leaves her as the prime suspect.

- Not exactly.

- Do you think she could have done it?

- I knew every inch of the house

and every inch of Bernard's temper

and what he might have done if he saw.

- Daydrinking or daydreaming?

- Saw what, Webster?

- Just getting your 5:00 PM glass ready.

- Look, Sydney and I were friends.

- So Bernard was complicated.

But the question was, how do you know Sydney

wasn't hiding something.

- This house hides things.

I knew all the little hiding places.

I would have known.

- What if you were both hiding something?

- Hmph.

- What if she was hiding you?

[♪ eerie tune ♪]

- The night of the murders, the police

tore the house apart or did the best they could.

They should have asked me to help.

But then they cordoned it off and never

allowed me back inside, never allowed even

a kiss goodbye to the place that was

a home for my entire youth.

- You wanted to kiss the house goodbye?

- You do so much for people, or a house in this case,

that eventually you feel responsible.

Your job as a caretaker doesn't fade

even if the place or people you're taking care of vanish.

He developed tremors, relied on me to lift boxes of papers,

organize bookshelves, clean up after him.

When I left the night of the murders for the last time,

I heard his music playing and thought all would be fine.

His writing was going well.

He was in a good mood.

I worried about Sydney and Noah but not that night.

She had her first performance in seven years.

She seemed fine, so I left.

I left.

I should have-- really I--

I should have turned back to the house, and I--

I should have screamed.

I should-- I should have yelled don't go to the magic show.

Stay at home with your son, Sydney.

Protect him from what's coming tonight.

Protect yourself from a life of pain and emptiness.

♪ ♪

Protect me.

♪ ♪

But how was I to know?

- If you didn't know anything, you--

[clears throat]

I'm sure people are wondering as it was

the key reason why you were the only suspect those first few

months, why were your footprints

found leading down to the bonfire where Noah was burned?

- My shoe prints were found.

Every night, I put my boots by the house,

and I walked home in my sneaks.

I have no clue how those prints got there.

- Well, we're all here for the truth, aren't we?

Webster, you had an affair with Sydney Balance, correct?

- We were close, yes, like I said.

- We know you had an affair with Sydney Balance

while her husband and young son were in this house.

- You can't prove that.

- And you continued to have an affair with Sydney

after her young son and her husband were brutally murdered.

- I refuse to be interrogated.

- Well, you're currently being interrogated, bud.

It's OK.

Nobody's blaming you because you loved Sydney,

and she loved you.

It's OK because it's the truth.

- You're one to talk about loyalty and infidelity and

the truth, aren't you?

- Infidelity?

It's really interesting.

Not true but interesting.

- Huh.

- OK, right.

Right, OK.

I'm the bad guy here.

Yeah, I'm the bad guy because I did all the research

and found out what you--

- All right, when we come back--

- Before and after the brutal murder of her family--

- We'll get an exclusive look at Sydney Balance's--

- It's OK because it proves that she was worthy of love

and that Bernard was an unloving monster who never

saw Sydney for who she was.

- I'm leaving.

- But you saw her, didn't you, Webster?

You saw her.

You saw her as she was.

You loved her.

And you had a child with her.

[thunderstorm]

[clears throat]

Live TV, folks.

Quite a roller coaster.

- Oh, shit.

- More after this.

- Were they supposed to--

- And we're clear.

That-- that's-- that's a commercial break.

OK, our next segment is in 6, so let's take a break.

Go 10-1, grab a snack, keep your blood sugar up, and OK.

[♪ eerie tune ♪]

Just keep the train rolling, guys.

- Look, we'll finish a great show together--

- I can't change your mind?

- I don't want my mind changed, Muffin.

This is broken.

- Roberta, Frasier, stop wandering off.

We need you on set now please.

- OK.

Well, then, goodbye and good luck.

And, hey, now you don't have to get me anything for my birthday

next week, and you can't say I didn't say anything

funny before you left.

- Oh, you need me to finish the show.

- What I need you to do is leave.

Pack your shit up tonight before I get home,

and never speak to me again.

- This is my show, too, Roberta.

- We are in it to win it in a minute.

Oh, Roberta, Webster, he totally just, like--

- Out of my shot.

- You're being shortsighted. OK, it's a breakup.

You'll get over it.

Right now, you need me.

You need to finish telling my story.

- Your story?

- I-- we literally can't finish this show without me, right.

- I need you to know you will always

be the villain of this story.

- You don't mean that.

You're upset.

- Oh, you're motherfucking right I'm fucking upset.

I just found out that I gave my life to a crazy motherfucker.

- Come on.

We have to shoot--

or not.

[heavy sigh]

- Since this will be the last time,

let me just say this is not your show.

We worked together because I loved you and supported you.

You're here because of me, because I was making the show,

and you found me and begged me to be a part of it,

because you tricked me into loving you.

And I did.

I really did.

And when you realize that, and how truly fucking

good I have been to you over the past few years

when you're just-- [derisive laugh]--

this

and no one will work with you,

and none of our friends will talk to you,

and you come back asking for forgiveness

because your life is fucking awful, just know

that you fucking did this.

Now get the fuck out of my life!

- OK.

- Get out!

- Hey!

Oh, fuck.

- Sorry, but we're uh-- we're back in 5, 4, 3, 2--

[bell ringing]

- What do we know about Noah Balance?

So far, we've uncovered details focusing on Noah's parents.

What was their relationship like?

Bad probably, like most.

Time turned their relationship sour.

It curdled, went rotten.

It's easy to focus on the creamy details of a scandal,

but we often forget about Noah, little Noah Balance.

Yeah, left behind no answers.

Just a grieving mother and his face on a milk carton.

[distant grumbling]

Sandy, if you're in the truck and can hear me,

cut to 36 delta now.

[♪ soft piano ♪]

♪ ♪

Webster, Lex was supposed to show you out.

How did you--

- I already told you.

I can get around the house.

All those years.

- Yeah, none of them while I was here.

- Sweetie, that's not how it happened.

- Whatever you want to tell yourself.

I-- I don't-- I don't know what I'm doing.

I didn't mean for you guys to--

- No, I think we did.

I mean, the prime suspect and the secret love child

he had with the famous widow live on TV face

to face, now that's a good story.

- Maybe there's more important things than a good story.

- She said in the house that stories built,

to another writer nonetheless.

I heard that you were publishing a book

about your mother that's--

I can't wait to read it.

- Oh, no, don't worry, you're not mentioned.

- Ashley--

- It's Ash.

- You know your mother.

She wouldn't let me come around.

I tried to be a part of your life, but she was so stubborn.

Tried.

- Well, you could have tried harder,

but you gave up on me just like she did.

So now you're both dead.

- Hey, Roberta, 30-60 is ending.

We need to what to throw to.

- Well, I'm ready for my interview.

- Ash, please--

- No, please--

- Let me just explain.

- 10 seconds.

- Could you go now!

I'm about to be interviewed. - Ash--

- Her to us. Let's go.

- OK, copy.

Sir, you're gonna have to watch behind the monitors.

[♪ whimsical tune ♪]

♪ ♪

We are live in 5, 4, 3, 2--

- Ash Castle, the author of the upcoming book Finding Balance--

My Life with Sydney, it comes out in June.

Her book is on sale in June.

- Where's the-- the guy, the old co-host guy?

- He had a death in the family.

- Oh.

Samesies.

- Yes, Sydney Balance.

- It's true.

She was unfortunately my mother,

and she died of cancer four years ago.

- And you're ready to go on the record

after a lifetime of rumors, born to

an unknown man

in the years after it fell apart for Sydney.

You were here to watch as she was forced to live out

the rest of her days with the guilt

and trauma as her company.

- Because she certainly did not want my company.

- How did you survive all the emptiness?

[♪ somber piano ♪]

♪ ♪

- Emptiness runs in my blood.

That's all my mother had by the time I came around.

So that's all I inherited from her.

Bernard, some people just aren't meant to--

just sit down, and let me--

- I'm sitting. Come on, open it, would you.

Come on now.

- You're not listening to me, Bernard.

- Our lives are contained within this gift.

- Oh, I can't talk to you when you're like this.

- What? Like what?

- Like this manic man.

- Manic-- manic man.

Manic Man, title of my next book.

A-ha.

- Do I blame her? Yes.

But I blame him, too.

She was young.

They were in love for a time.

But I think she was too selfish for love, and he was--

can I swear?

Dude was, like, fucked.

- It's us.

It's our love story.

I mean, everything I write is us,

but this one I can't wait for you to read this one.

I mean, the murder obviously is fiction,

but everything else in here is-- is lifted from our lives

and gifted to the people.

- Yeah, I'm sure the people reading

The Good Behavior Killer are dying

to know every intimate detail of our relationship.

- You should be so goddamn honored.

- This isn't working.

I'm leaving.

- Oh, God, no, Sydney.

What you're doing is you're always

saying that you're leaving, but you're never actually leaving.

[♪ rhythmic tune ♪]

[slam]

[clearing throat]

- We've seen many different versions of Bernard

Balance tonight--

the complicated creative genius,

the loving husband, the tyrant who always gets his way--

but your mother--

- Was wrecked by him.

You couldn't talk to my mom about anything.

She would just disappear.

She'd never fix a problem.

She'd burn it down and live in the ashes.

[creaking]

[♪ mysterious tune ♪]

♪ ♪

She said to me once I don't know who I am anymore.

- I don't know who I am anymore.

- You're Sydney.

You're my wife.

I love you.

- I'm losing everything but me.

♪ ♪

- Dear, Bernie.

Happy Sunday, baby.

Just wanted to remind you how much I love you

and how you always make me smile.

You have a kind heart, a smart little head,

a silly sense of humor, and more talent than Stephen King.

- I wrote those--

- You work hard, and you deserve

all of the wonderful things that are coming your way.

- She wrote those Sunday letters

as a simulation of the love she knew she wasn't capable of,

like pretending she could levitate

or put herself back together after being sawed in half.

The letters were another illusion

for her to make herself feel like something

more than nothing.

♪ ♪

[chuckling]

- Do you know how truly good to you

I've been for over a decade?

Do you?

Because here's the proof!

♪ ♪

If you try to leave, who knows what'll become of you.

Fuck, who else is gonna love you if not me?

[♪ ominous music ♪]

♪ ♪

- You're a good actor, but you're-- you're playing

her too confident.

- That's because I'm not her.

- No, obviously.

- Remember who I am to you, baby.

- I'm him.

♪ ♪

- Excuse me.

- You detail in your book--

- On sale in June for a low price.

It's actually Heather's pick.

[chuckling nervously]

- You give us your theory about what happened

that night eight years ago.

- It's not a theory.

It's-- it's the truth that she told it to me.

- You said she never talked about that.

- Well, you'll have to read it in the book.

- Give us a preview.

[♪ ominous tune ♪]

- OK, just a taste.

She performed at her first show in seven years that night.

- Lori's gonna drive me home.

I should be back tonight.

- Will you now?

- Still just an assistant, she thought

it was a stepping stone to finally getting the career

she deserved.

- Good luck.

- Wait.

Arisa a boo ba dilly!

Break a leg, mommy.

- She wanted an out for years, and with this show,

she found one.

All that time spent trying to make a family work,

not being able to,

she finally did something.

[♪ music playing ♪]

- Would you say it was

brave

for her to leave?

- Maybe it would have been

if she did.

If she just left right then and there,

then maybe everyone would have lived,

and maybe I never would have.

You see, she was-- she was selfish, a showman.

That's all that mattered to her.

All that she wanted to know was that the show would do well,

that she would follow her dreams,

and that she would have an out.

She was going to come back for her bag that night

and leave while they were asleep.

♪ ♪

But he found the bag first.

♪ ♪

[thud]

♪ ♪

And that's-- that's when the truth was finally revealed.

- What?

What?

What's when the truth was finally revealed?

- The truth will be revealed in June when

my book, Finding Balance-- My Life with Sydney,

comes out.

- But we've already filmed all the reenactments

based on the info from the advanced copy that you gave us.

- Oh, OK.

Good for you.

- You're not gonna tell us?

- It's in the book, girlie.

[thunder clapping]

- Hey, Sandy, roll clips 70 through 84.

- Whoa, whoa, whoa.

[thunder rumbling]

[♪ Lukas Clay, "Seasons" ♪]

♪ ♪

[clacking]

♪ ♪

-♪ It was the season of breaking up ♪

♪ It was the season of falling in love ♪

♪ With you ♪

♪ I was the reason ♪

♪ It fucked me up ♪

♪ So good ♪

♪ It was the season-- ♪

[screaming]

♪ Of breaking hearts ♪

♪ It was the season of falling apart ♪

- You love magic, Noah?

Yeah?

You love me and your mom?

Great.

That story has all three.

Let me know when you're done.

♪ ♪

-♪ I was gone ♪

♪ When you caught me ♪

♪ Falling for you ♪

♪ I was gone ♪

♪ When you caught me ♪

♪ I was running from the truth ♪

♪ I was gone ♪

♪ When you caught me ♪

♪ Falling for you ♪

[screaming]

[heavy thud]

♪ ♪

♪ You were the reason that the seasons changed ♪

♪ That was the season I rearranged it ♪

♪ It was disease running through my veins ♪

♪ I turned blue ♪

♪ I was caught with a man much older than you ♪

♪ I was caught running west. ♪

♪ I was running from the truth ♪

♪ I was written in the past ♪

♪ The stories were cruel ♪

♪ I stole a car and some cash off highway 82 ♪

♪ Cigarettes on the dash ♪

♪ And a picture of you ♪

♪ Nothing behind me ♪

♪ Memories ♪

♪ Nowhere to drive to ♪

♪ I pulled over and stopped ♪

♪ I didn't know what to do ♪

♪ Nothing to my name ♪

♪ Just memories of you ♪

♪ Bricks in my lungs ♪

♪ The floor fell through ♪

[breathing heavily]

♪ You were the reason the seasons changed ♪

♪ Now was the season I rearranged it, too ♪

♪ There was disease running through my veins ♪

♪ I turned blue ♪

- OK, that was messed up.

- It's your story.

- And you didn't even fucking buy the rights, bitch.

- You really think he committed suicide by cutting himself

with a letter opener 87 times?

- You will find out in June.

- If your version's true, then he got what he wanted.

He silenced her.

He handcuffed himself to her just

like he said in his letter.

He trapped her, a witch within the walls.

[thunder roaring]

- I mean-- - Oh, shit.

No one panic.

We lost the feed.

Storm knocked out the power.

Roberta, what do you want to do?

[door shutting]

Roberta?

[clack]

[chatter]

[♪ eerie music ♪]

♪ ♪

I can't do this.

We're going to bring this ring back.

[indistinct chatter]

We can find it.

Come on, people.

I need you to hustle.

Let's go.

Do we have eyes on Roberta?

♪ ♪

[distant shouting]

♪ ♪

[clack]

♪ ♪

[clack]

♪ ♪

- I kicked you out.

- There are other ways in.

[chuckling]

I need to finish the show, Roberta.

You'll get through this.

Really, people get through a lot worse.

Sydney said goodbye to her son forever right here.

And she-- she wasn't you.

[♪ suspenseful music ♪]

You're unstoppable.

- You made me believe that there was a world where I could

be loved

and happy,

and you're taking it all away

and telling me it was all a lie.

- It wasn't all a lie.

- Even if just the ending was a lie,

bad ending is enough to ruin a whole story.

- So then let's make a good ending, my ending.

Please, Muffin.

- Bruno, we got power again.

Back to 1. We got the--

[indistinct chatter]

[♪ soft piano ♪]

- This was not supposed to be our story.

You left it unfinished, and I hate you for that.

But I don't want you to disappear.

- I won't disappear again.

Come on.

We have a story to finish.

[♪ melodic piano ♪]

♪ ♪

- Some magician you are.

Someone get hair and makeup.

- Get both cameras on me at all times, A and B.

- Hey, Roberta.

This is your show.

Just say the word and we can--

- It's our show, and we have a story to finish.

Frist, where do you want me?

- Wow.

OK.

We are live in 30 seconds, people.

- You're not the Frasier I fell in love with.

- Oh.

I never yelled at you or cheated.

- I know who you are.

[♪ eerie music ♪]

♪ ♪

I'm gonna destroy you.

I'm gonna tell the world.

- 15 seconds.

- I never doubted that you would.

- 10 seconds.

- We don't have to do this on live TV.

[derisive chuckle]

- Live TV is what makes it fun.

- 5, 4, 3, 2--

[bell ringing]

- Well, I'm back.

Did you miss me?

Over the commercial break, Berta and I--

- The best illusions are carried out in the shadows

by the people you'd least suspect.

Who said that, Frasier?

[sinister chuckling]

What a special this has turned out to be.

During the breaks, Frasier and I--

- Dear God, no, you gonna--

you're gonna speak for me?

Still after-- OK, you're the creative genius so say it.

♪ ♪

- You're Noah Balance.

- Rick a boo ba dilly!

Ladies and gentlemen, finally after 30

years of lies, the truth.

[fire roaring]

My mother was hounded by you people

her entire life

asking, wondering how was it done.

What happened that night?

What do you know?

She swore the answer was a secret

that she would take to her grave, the magician's oath.

We all know about the Sunday letters.

By the end, she wasn't writing them to convince him or her.

She was writing them to put that silly,

childish, dangerous love for him

somewhere other than herself.

The irony is that, in trying to protect herself

from her love for him, it killed her, prolonged exposure

to nitrocellulose.

What does that have to do with the letters, you ask.

- She burned them.

- No-- what?

You-- yeah, how'd--

how'd you get that?

- You told me you used nitrocellulose to make

flash paper.

Before we started filming today,

I was handling one of the letters by the fireplace,

and you grabbed my arm and told me to be careful.

- Nice one, Muffin.

It was the reason why there were

so many more of his Sunday letters than hers.

[flame crackles]

She burned hundreds of them, trying

to get rid of that childish, silly, dangerous love

that she put down on flash paper.

The day that it happened, I watched

as they argued like always.

I watched as he drank like always.

And I watched as he wrote those...

horrible lies about us,

lies that made him famous

while he made her hide.

I asked her, I said, Mommy, why aren't you famous like daddy.

She said because I love him,

and love is...

a curse.

That night she told me that she was

going to perform one of her magic shows,

and I couldn't come.

The details are hazy.

I was a kid.

I waited for my father to go down to get another bottle.

I snuck up into his study.

I saw the paper in the typewriter.

I read the story that he wrote about the witch.

That's when I heard his--

his footsteps on the stairs.

I-- I-- I-- I grabbed the story and his letter opener

over the fireplace for protection.

I didn't want people reading what he wrote about my mother

as that awful witch.

And so I threw the story in the fire.

And I tried to run, but he grabbed me.

He grabbed me, and he was trying to get to the letter

opener out of my hand.

Well, luckily all that practice with sleight of hand--

ha--

87 cuts and a whole lot of blood later.

My mommy came home.

I said we're finally free.

She saw the blood and the body.

She was-- she was scared of me I think.

Yeah, like her husband's son.

So Noah Balance lives.

[♪ ominous music ♪]

♪ ♪

To realize after his mother died

that the only real horrific crime committed that night--

- Was that Sydney didn't love you enough to keep you around.

- I tried to love you, Roberta.

I tried and I tried and I tried,

but we're incompatible just like my parents.

I didn't want us to end up like them, so I had to let you go.

- I agree.

Really.

So if you'll allow me this one last time, Frasier,

I'm interrupting you to tell everyone

you are still the villain.

I spent every minute putting this show together.

You say you did the research.

I tripled checked it.

- But, like, I didn't do anything?

- Oh, no.

You wrote a few lines that I kept in.

- Oh.

- You gave some information that turns out

wasn't just intuition.

I read every Sunday letter, every novel

pulled apart every lie and detail from every guest

including you.

And you think you can come on my show and lie to the world.

You think you can lie to me, and I wouldn't notice.

- I--

- I didn't know your real name,

but I know you

enough to know that your entire story

is bullshit.

[♪ whimsical tune ♪]

♪ ♪

Two magicians that didn't know how to love but

loved to make a dramatic point through magic.

That's why you did this show and tried to make a fool of me

on live TV.

- No, I didn't.

- You just couldn't resist that dramatic reveal.

- No.

- Sydney didn't write her letters on flash paper.

It's too delicate, volatile.

You said so yourself.

To say that she died from handling it?

No.

She died from making her own constantly.

- Hey, what are you doing?

- Oh, oh, here's where it gets good.

Hey, Sandy, why don't you roll clip 12 echo,

Cornelius finding the body.

- The show is over.

Roberta, it's over.

- Roll it.

- Your mommy taught you every trick

she knew including how to make a dramatic point

with nitrocellulose.

Residue was found on Bernard's hands

and would have been found on yours, too, if you were found.

Come on, Fries.

Let's go for a walk.

- Hey, hey.

- It'll be much more dramatic.

Sandy, roll clip 88 lima, Bernard

sitting Noah down at the desk.

You say you waited until he left the room,

and you read his story.

No, you weren't interested in his story.

You wanted to hurt him for hurting the only person

you ever loved.

So you dramatically, of course, set out to destroy

what he loved, his writing.

- Roll 57 indigo, Sandy.

They're secret passageways throughout the house.

Webster used them to sneak around all the time as did you.

So you went to the cellar where Sydney kept the acid.

You doused the manuscript, and you

ran back to hide in the walls.

So where's the hidden staircase?

So he's there.

The back staircase is there.

- I tried to help you solve it on live TV, but you didn't.

But you won't let things go, so now you're

making a fool of yourself.

[rattling panel]

Listen to me when I tell you for once, leave it.

- You really think this story you're telling is true.

[ghostly tune]

Are you actually this delusional?

Prove it's all smoke and mirrors.

[scoffing]

♪ ♪

[clacking]

♪ ♪

So with a highly flammable manuscript

in your hands,

you run up

the secret passage.

Let's go.

♪ ♪

You waited in the walls, waited for him to come back

drunk, unaware.

- Hope you're getting some really

great footage of the, like, bricks and nothing.

- You say you heard footsteps on the stairs.

You heard him coming, so you grab the letter opener, and--

- He was trying to kill me.

- --he caught you in here.

You didn't hear anything because the music

was playing, as always.

[♪ plucky tune ♪]

♪ ♪

Sandy, roll golf 11.

He didn't catch you by surprise.

It wasn't self-defense.

You waited here for him.

- You're wrong.

I know what happened.

You just can't accept anything that isn't your version.

- You know, the weapon is the one

thing that never made sense.

The letter opener?

Knife?

All those theories-- too boring for this family.

There was no struggle with the letter opener.

Cuts were too clean like they were guided.

46 alpha, Sandy.

We knew about his physical condition, his tremors.

Then there's the lack of blood anywhere but the chair.

So you either killed him in the chair

or somewhere else contained.

- I killed him with the letter opener in self-defense.

Every night, that's what I see because that is the truth.

- I wondered why the killer wouldn't

just burn the pages entirely.

But you used them as bait.

You had them in your hand, ready to go up in flames.

And as soon as he came in the room,

you had your final trick waiting

right behind the bookcase.

You told me the truth many times.

Those few lines you wrote, how could I--

it was all there.

38 delta, Sandy.

- I want to do the Moretti box.

- I told you no. No.

- Roberta--

- 88 lima again.

Close on the title.

You know, I thought you came up with a nice title for a story

that no one knew the title to but--

- It's enough.

Please.

- There might not have been a witch within the walls,

but there was a magician.

You gave me all the clues.

I decided not to see them.

- You're wrong. - I can see it now.

I can see you.

[♪ mysterious music ♪]

♪ ♪

You throw the flaming manuscript in here.

Bernard chases after it.

And waiting behind the bookshelf

is, well,

magic.

♪ ♪

It's your trick, Fries.

You sure you don't want to be the one

to reveal it for the first time after 30 years?

- Oh, you just can't help yourself, can you?

OK.

[♪ light piano ♪]

♪ ♪

- Moretti's sword box.

[slicing]

♪ ♪

That explains the lack of blood anywhere else.

[slicing]

[thud]

Bernard chase is after the manuscript.

[slicing]

Box is here waiting for him.

[slicing]

The door is open.

[squeaking]

♪ ♪

Right, I can't help myself.

So your one last chance in the spotlight.

[thunder rumbling softly]

♪ ♪

[♪ somber music ♪]

♪ ♪

- I was a kid, I know what I--

- It wasn't self-defense.

[♪ somber piano ♪]

♪ ♪

87 times.

- He was gonna kill her.

- No.

She was going to leave.

- I saved her from him.

- And she left you anyways.

She didn't try to fix what you did.

She hid the truth, misdirected, moved the body,

planted evidence, and then got rid of you

because she was selfish.

- She was innocent.

- Frasier, no one's innocent.

♪ ♪

You killed your dad.

♪ ♪

Your mom killed you.

You killed the man I loved.

- What did you do?

♪ ♪

[sirens]

[♪ Aaron Esposito and Katie Chastain, "Beautiful Dreamer" ♪]

♪ Beautiful dreamer ♪

♪ Out on the sea ♪

[♪ echoing music ♪]

♪ ♪

♪ Heard in the day ♪

♪ Was by the moonlight ♪

- Frasier.

- I'll be in the car.

♪ Beatiful dreamer ♪

- I just--

I need to know.

- You wouldn't be you if you didn't.

- If I'm that bad.

♪ ♪

- You got one thing wrong in your big finale.

You said that I couldn't resist a dramatic reveal.

I thought I did this whole thing

with you just for the ending.

No, Roberta, no.

I mean, yes, that's why we met, but

then we fell in love, Muffin.

I tried to get out of it.

I-- you know I did.

I tried to get you to scrap the show, but you--

you pushed because you're unstoppable.

♪ ♪

- And you're a fucking monster.

♪ ♪

♪ Beautiful dreamer ♪

♪ Out on the sea ♪

- Come on.

Buddy's got a date with a prison cell in and good--

by the-- fuck.

- Roberta, we're back in 30 seconds.

♪ ♪

[thunder cracking]

20 seconds.

♪ ♪

[♪ Kwncy, "Hope to Die" ♪]

♪ ♪

♪ Really tried to get it right ♪

♪ Now we're bleeding out of sight ♪

♪ You stabbed my heart ♪

♪ A thousand times ♪

♪ So tell me where you get the knife ♪

[slicing]

♪ Cross my heart and ♪

♪ Hope to die ♪

♪ Tell me the truth ♪

♪ Just one fucking time ♪

♪ Everything I did ♪

♪ Did I do it all for you ♪

[knives slashing]

♪ ♪

[knives slashing]

♪ Blood on the floor ♪

♪ Now I'm covered in blood, too ♪

♪ I'm guilty ♪

♪ I'm guilty, too ♪

♪ Cross my heart and ♪

♪ Hope to die ♪

♪ Cross my heart and ♪

♪ Hope to die ♪

♪ Tell me the truth ♪

♪ Just one fucking time ♪

♪ The truth ♪

♪ Just for the last time ♪

♪ We're all out of time ♪

♪ We're all out of time ♪

- Almost done loading everything.

- Do you-- do you have somewhere to go?

[thunder cracking]

- On to the next story.

[♪ melodic piano ♪]

♪ ♪

[thunder rumbling softly]

♪ ♪

[♪ Lukas Clay, "Murder in the First Degree" ♪]

♪ I met you a stranger ♪

♪ A beautiful danger ♪

♪ Your siren song lured me ♪

♪ Into learned behavior ♪

♪ With equal parts caution ♪

♪ And unrequited hate ♪

♪ I fell for you ♪

♪ My fall from grace ♪

♪ I'm overthinking every lie you said ♪

♪ I dream of vindication ♪

♪ And I dream your death ♪

♪ Bye ♪

♪ You killed the boy ♪

♪ I used to love ♪

♪ You killed the man ♪

♪ I could become ♪

♪ Premeditated first degree ♪

♪ Darling, how fucked up are we ♪

♪ You killed the boy ♪

♪ I used to know ♪

♪ You killed the man ♪

♪ That I call home ♪

♪ Premeditated first degree ♪

♪ Darling, how fucked up are ♪

♪ Are we ♪

♪ Oh, why? ♪

♪ I lost you in August ♪

♪ You fight like you're honest ♪

♪ When you kissed me goodbye ♪

♪ It hurt more than you promised ♪

♪ And we change with the seasons ♪

♪ And my body is healing ♪

♪ But your side of my life remains untreated ♪

♪ The memories just a consolation prize ♪

♪ I dream of vindication ♪

♪ And of your demise ♪

♪ You killed the boy ♪

♪ I used to love ♪

♪ You killed the man ♪

♪ I could become ♪

♪ Premeditated first degree ♪

♪ Darling, how fucked up are we ♪

♪ You killed the boy ♪

♪ I used to know ♪

♪ You killed the man ♪

♪ That I call home ♪

♪ Premeditated first degree ♪

♪ Darling, how fucked up are ♪

♪ Are we ♪

♪ You killed the boy ♪

♪ You killed the boy ♪

♪ You killed the boy ♪

♪ I used to love ♪

♪ Killed the man ♪

♪ You killed the man ♪

♪ You killed the man ♪

♪ I could become ♪

♪ Premeditated, medicated, meditated first degree ♪

♪ Darling, how fucked up are we ♪

♪ Darling, how fucked up are we ♪

♪ Killed the boy ♪

♪ You killed the boy ♪

♪ Killed the boy ♪

♪ I used to love ♪

♪ Killed the man ♪

♪ You killed the man ♪

♪ You killed the man ♪

♪ I could become ♪

♪ Premeditated, isolated, orchestrated first degree ♪

♪ Darling, how fucked up are we ♪

♪ Darling, how fucked up are we ♪

♪ Killed the boy ♪

♪ I used to know ♪

♪ I used to hold you ♪

♪ Twist the knife ♪

♪ You killed the man ♪

♪ And I'll remember that ♪

♪ For the rest of my life ♪

♪ You sat and waited for the day ♪

♪ To demonstrate the way you bleed ♪

♪ When my execution came ♪

♪ I didn't get the chance to speak. ♪

♪ I still imagine what would happen ♪

♪ If I didn't plant the knife ♪

♪ If things were different ♪

♪ We were kids ♪

♪ Then didn't need to take our life ♪

♪ It's my confession ♪

♪ It's my death ♪

♪ And I submit my guilty plea ♪

♪ Darling, I fucked up ♪

♪ It's murder in the first degree ♪