Only Murders in the Building S4 Episode 10
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00:01Marshall, we need to talk with you.
00:03I thought you wanted to give me more notes on the script.
00:05Everyone's been hounding me about rewrites.
00:07Every draft that Marshall turns in is worse than the last.
00:09Loretta and I shall marry here, in the Arconia.
00:12Saz!
00:13There's something I need to talk to you about when you get a sec.
00:15It's a little sensitive.
00:16So you don't know who the target was?
00:18The person who did this would have to be extremely fit.
00:21A gifted athlete in the best shape of their life.
00:23Saz talked about a stuntman on a movie called Project Ronkonkoma.
00:28He was her protege, but he had messed up pretty badly and he was harassing her.
00:32The only ones who know what went down are Saz, Glenn, and the director.
00:36He's dead.
00:37My Glenn.
00:38Nicky Caccimiglio has been reported missing.
00:40We heard there was quite the snafu on Project Ronkonkoma.
00:43No!
00:44The guy fucked up so bad, Saz had to blackball him.
00:47Who was this protege?
00:48Here he is.
00:49That kind of looks like...
00:50Why does this script say it was written by Saz Pataki?
00:59A movie is a hundred people working together to tell one story.
01:06That's right, Kincaid!
01:07It's me, Uncle Brazos, and I can still send this investigation into a whole new direction.
01:12Freeze!
01:13Tap in!
01:14Tap in!
01:18And action!
01:23I'm good!
01:24Cut!
01:26I'm good!
01:27Cut!
01:31Nice job, Pataki!
01:35Every person on the crew, their job is to help tell the story.
01:40Some tell it with music.
01:42Some tell it with props.
01:44Me?
01:45I tell it with osteoporosis.
01:49Sometimes it doesn't sound terrible to tell a story the old-fashioned way...
01:55...without breaking all my bones in the process.
01:59But where to begin?
02:02Well, I suppose it starts with finding your hero.
02:06Hey, Saz, you okay?
02:08All good, buddy.
02:10I'm getting worse with heights.
02:11Charles, please.
02:12I gotcha.
02:13Don't you worry about a thing.
02:16As it turned out, we are all Tim Kono.
02:19When you take your hero on a journey, get him in all kinds of trouble,
02:23but land him home safely?
02:27Nothing better than that.
02:32But happy endings are for movies and exotic massages,
02:36and you can't help but wonder,
02:38how did Tim Kono end up here?
02:42But happy endings are for movies and exotic massages.
02:46Life can have very different plans.
02:50So, the killer is Rex Bailey, slash Marshall P. Pope,
02:54slash the stuntman, slash the screenwriter,
02:57slash what the fuck is going on?
02:59Where is the young one?
03:00We need a pliable brain on this.
03:02I texted Mabel the minute we figured it out,
03:04but she hasn't responded.
03:06What?
03:07How did you get that little accent mark on the E in protégé?
03:10Oh, you press and hold down the letter, you want the accent over,
03:13then you get a list of accent choices.
03:15No kidding!
03:16It's fun, right? Mabel taught me that.
03:19You know, every time we solve a murder, that's when the next body drops.
03:24It's like when one murder door closes, someone we know
03:27either gets stabbed, poisoned, or shot.
03:30Why would you say that?
03:33You know my wedding is tomorrow.
03:35Loretta's on her way now, here to the murder building.
03:37I wasn't saying it'd be Loretta.
03:39What, you were basically saying that, Charles.
03:42Oh, my God.
03:44My bride is going to be the next murder victim.
03:47It's so us.
03:48And to think, up until now, my only worry was what our first dance should be,
03:52and whether watching Loretta and I do a tango
03:54might be too erotic for everyone to handle.
03:57It's from Mabel.
04:00Call the police or come anywhere near her door and I'll kill her?
04:09Oh, my God.
04:39Oh, my God.
05:10Can you excuse me for a second?
05:12I'm just going to go grab...
05:14You're not going anywhere.
05:18You're pretty fit for a writer.
05:22Because you are a stuntman.
05:26Sazh's protege.
05:31You stole her scripts and then you killed her.
05:34I can't believe I have to kill you, too.
05:36I was just supposed to be Sazh, but now look at me, sniping, smothering.
05:39It never ends.
05:41So you admit you killed Glenn.
05:43I didn't want to.
05:45I never want to, but it was only a matter of time
05:47before he realized why I looked familiar.
05:49I hate that I accidentally shot Zach Galifianakis.
05:52He's so funny in The Hangover.
05:54Don't fucking move, Mabel!
05:57Okay.
06:00Okay.
06:03Okay.
06:05Well, then you can kill me,
06:08but you're on your own with the whole rewrite.
06:14Well, I know what you're doing.
06:16You're trying to buy time.
06:18I'm not falling for that.
06:19No, you're in charge of this whole thing.
06:22I'm just... Can I...
06:26You have Charles logging on to AOL.
06:31Yeah, because he's old.
06:32No, I've taught him better than that.
06:34And then you have Mabel saying,
06:38you've got fail.
06:41Are you sure you want to go with that?
06:46Fuck!
06:49Fine.
06:51We finish this scene, and then I'll kill you.
06:55Shouldn't we be running to Mabel?
06:57Not that I don't love watching you stare out a window
06:59like a sad war widow.
07:01Oh, my God.
07:02It was one person.
07:05The ledge.
07:06That ledge.
07:07It's been right there in plain sight all along.
07:09Who the hell would walk out on that?
07:11A murderous stuntman would.
07:13That's how the shoe print got on the radiator.
07:15That's how he did it in 12 minutes.
07:17And it's the only way we can save Mabel.
07:19Wait, what?
07:20Marshall said, if we go to the door,
07:22he's gonna kill Mabel.
07:23So we walk along the ledge and smuggle her out.
07:27This is actually really smart.
07:29He'll never see us coming through the window.
07:31Okay, you can drop the word us,
07:34because old Ollie Putlam don't walk no ledge.
07:37I need to do this.
07:39I didn't save Saz, but I can save Mabel.
07:48Okay, it's really high up.
07:53What if you do it from Vince's?
07:55It's right next door.
07:58That is the first good pitch you've had
08:00since this whole thing started.
08:02It took four seasons,
08:04but now I'm cooking with gas.
08:08Oliver, your chuppah arrived.
08:10Where are we placing it?
08:11Lester, I have urgent business,
08:13so I need you to take over.
08:14Now, I trust you completely,
08:15but just know, if you get anything wrong,
08:17I will destroy you.
08:18What?
08:19All he does is let in murders.
08:21Oh, my bride's in the courtyard.
08:22Okay.
08:23Charles, I got married in this courtyard, you know,
08:26middle of the night with just the stars,
08:28and the fountain has our witness.
08:30I think it's good luck.
08:31Lester, I told you, when I moved in,
08:32I don't really do anecdotes, but have a good day.
08:37Yeah, having a wedding,
08:38we'll have a good day, sure.
08:44Oh, look at that.
08:45Okay, you're here.
08:46Oh, Oliver, my God, my show.
08:49I don't think I can marry you now.
08:51What?
08:52Production's moving to New Zealand
08:54because Algorithm feels it's newer.
08:57Yeah, so North Bund is gonna be Oomph Bund,
08:59and I have to move to New Zealand day after tomorrow.
09:02Oh, God, catch up when you can.
09:04Okay, so maybe you can just quit.
09:06I can't quit.
09:07Then I will move.
09:08Married people move for each other.
09:10That's what we'll do, okay?
09:11Where are you going?
09:12I will explain.
09:13Just go to my apartment, lock the door,
09:15and don't answer it for anyone,
09:17and I love you.
09:18Oh.
09:21Okay, left one in front, not the right.
09:23Oh, there you go.
09:24That's more difficult.
09:25Come on.
09:30Oh, great timing.
09:31I'm just doing this new thing called exercise.
09:33You want to join?
09:34He hired me to be his trainer.
09:35Uh-huh.
09:36We need to use your window.
09:37Mabel's trapped next door with a killer.
09:38Oh, God.
09:39It's the movie writer, incidentally.
09:40I told you it wasn't us.
09:42We're just a bunch of cute weirdos
09:43who torched a body.
09:44You want us to call the police?
09:46No, no, no, no.
09:47He'll kill her if we do.
09:48I will not be joining because I'm not insane,
09:50but I will be contributing to today's caper
09:52by creating a front-door distraction.
09:54Front-door distraction.
09:55Now, is that a type of ding-dong?
09:57It is, Rudy.
09:58Very good.
09:59Ding-dong.
10:00Charles, wait.
10:01Wait, wait.
10:02If you fall, angle your body away from my wedding.
10:04Everything's a rental.
10:15Okay.
10:16All right.
10:17Yeah.
10:19I got this.
10:20Ha!
10:21Thank God.
10:22What?
10:23Oh.
10:24Oh.
10:25Ha, ha, ha.
10:26Ha, ha, ha.
10:27Oh.
10:28Oh, Sazh.
10:29Sazh, I need you.
10:35Okay, Ghost of Sazh.
10:37Anytime you want to tap in.
10:39Anytime.
10:42Oh, I can't do it, Sazh.
10:44Oh, I can't do it by myself.
10:49That's why I'm here.
10:50Now, be honest.
10:51Are you on this ledge because I'm moving to New Zealand?
10:54I think you know I'm trying to save Mabel,
10:56so go back.
10:57No, no, Charles.
10:58You're my ride-or-die,
11:00and my strong preference is to ride,
11:02so scoot, scoot.
11:07I can't move my feet.
11:08Yes, because you're looking down at certain death.
11:12We've got to do this facing the wall.
11:15Are you suggesting we pivot?
11:17We are in the sky.
11:19Charles, that is Mabel through that window.
11:21Now, you lost Sazh.
11:23We can't lose her, too.
11:25So here we go, okay?
11:27Spin on three.
11:29One, two, three.
11:32Spin!
11:33Oh!
11:34Oh!
11:35Oh!
11:37Okay.
11:38Okay, yeah.
11:39Excellent.
11:40The rest of the way, we merengue.
11:43See, to me, this doesn't read as a dance moment.
11:46I realize it is my wedding dance,
11:48so just watch and learn.
11:51Step, drag.
11:53Step, drag.
11:54Step, drag.
11:56Step, drag.
11:58Step.
12:00And I thought I didn't have rhythm.
12:02Step, drag.
12:04Step, drag.
12:06Step, drag.
12:08Go, go, go.
12:13Wait.
12:14If you're here,
12:16who's doing the ding-dong?
12:18Hello, it's friendly neighbors Rudy and Vince.
12:20We want to borrow some sugar,
12:22you know, like friendly neighbors do.
12:24Uh, Mabel's not here right now.
12:27Maybe I'll want to come back later.
12:29We're making sugar chicken.
12:31And it's, we've never done it before,
12:33and we're trying to figure out anything that might work.
12:36Do you have any corn on the cob or off the cob?
12:39How about, what are those little pickles?
12:41What are they, the gherkins or cornichons?
12:43Cornichons, cornichons.
12:45Lads, we're kind of busy right now.
12:47Well, it's whatever you have
12:49is really what we're looking for.
12:51Oh, thank God you're here.
12:54Charles, they're not going inside.
12:56I'm bringing you back out here right now.
12:59No.
13:00He killed Saz.
13:02Oh, that's all right, we'll just look.
13:07Please just leave us alone.
13:09We'll get a crowbar.
13:12We're coming in no matter what, okay?
13:14We're coming in.
13:16Drop the gun.
13:18What, what is that?
13:20It's Eva Longoria's 19-in-1 multi-tool.
13:22At least four of the settings could kill you.
13:28Okay, sit down!
13:30You fake-bearded bastard!
13:32Sit down!
13:35I need to know why.
13:37Why kill Saz?
13:39Because she blackballed you as a stuntman?
13:42Saz wrote the only murders movie.
13:45Saz is a writer?
13:47You stole the script from her?
13:49Look, I tried to become a writer.
13:50I did what you're supposed to do.
13:52Took my childhood trauma and tried to monetize it
13:54by turning it into a screenplay.
13:56And I had good trauma.
13:58Picture this, a dad who's a hunter
14:00forces his son to be a hunter, too.
14:02And the kid is a perfect marksman,
14:04but all he wants to do is write.
14:06And when he leaves for Hollywood,
14:08the dad gives him six months.
14:10Says, you're a killer, not a writer.
14:14I mean, come on, you'd watch that, right?
14:17Well, it depends on the casting.
14:19Would I have to go to the theater?
14:20I still haven't found time to watch The Wire.
14:22I wanted to prove him wrong,
14:24but nobody would touch my script,
14:26which is not my fault.
14:27Hollywood is broken.
14:29See, now here I see his point.
14:30Why else would I not have an ego?
14:32Freeze!
14:34I was about to call it quits when I met Saz.
14:37She was the first person to be kind to me.
14:39Saz was kind to everyone.
14:42After the Ron Howard incident,
14:45and by the way, he overreacted.
14:47Saz said my stunting career was over,
14:50but now I could get back to my writing.
14:53She even offered to read
14:55the latest draft of my screenplay.
14:57Sure.
14:59I think I nailed it this time.
15:01Oh, Rex.
15:03Man, you inspire me
15:05the way your words make me feel things.
15:10So much so that I gave it a whirl.
15:14You wrote something?
15:16You're the only one who knows.
15:18It's my only copy.
15:21And in the spirit of two writers being vulnerable,
15:26would you give it a read?
15:29I didn't have high hopes.
15:31What did Saz know about being a writer?
15:34But then I started into it,
15:36and it was good.
15:38Really fucking good.
15:40Certainly better than anything I'd ever written.
15:43Oh.
15:45We're done.
15:50So?
15:52That was the moment where I could have been a friend,
15:55or I could have gone in a completely different direction.
15:58It's...
16:00not very good.
16:02But everybody's got to start somewhere, you know?
16:05How could Saz write something so great on her first try?
16:08It wasn't fair!
16:10I could make a copy and have a closer read
16:12and see if I can come up with some fixes.
16:14Yes, please. That would be great.
16:16It's just the...
16:19It's all of it.
16:21How much of this are you married to?
16:23So I came up with a new name,
16:25which was actually the hardest part.
16:27Eventually I landed on Marshall P. Pope, which is awesome.
16:29Is it, though?
16:31After that, all I had to do
16:33was get the script into the right hands.
16:35I sent it all around town. I knew someone would bite.
16:37But I was just trying to get an agent.
16:39Never in a million years did I think it would get greenlit
16:42and then fast-tracked.
16:44But Saz found out.
16:46She got shown the script by some stunt friends
16:48who were looking for work on the movie.
16:50I should have known something was up
16:52when she invited me over for a drink.
16:54Come in.
17:02Nice beard, Rex.
17:04Thanks.
17:06Have a seat.
17:18Or should I call you Marshall?
17:21The list of suspects wasn't long,
17:23but you were the only person I let see the script.
17:26Saz, this just got out of hand so quickly.
17:28I wanted to tell you, but...
17:30You told me the script was bad,
17:32and then you stole it from me.
17:34You know me. I can take a hit.
17:36Nearly lost a leg during Police Academy 7.
17:38But this?
17:40This hurts way more.
17:42Okay.
17:44I'm gonna call Bev Mellon and we can switch.
17:46Bev what?
17:48Are you making up new fake names now?
17:50That's her real name.
17:52Bev Mellon from Paramount.
17:54She bought our script.
17:56This is not ours!
17:58Oh!
18:02This is mine!
18:04I hadn't even told Charles yet.
18:06I wanted to ask his permission before I tried to sell it.
18:09Do you see the mess you've made here?
18:12I do, but...
18:14this movie is...
18:16it's my dream.
18:18I had a dream, too.
18:20I had the dream to sell my script
18:22and build a trampoline park in New Jersey.
18:24A what?
18:26Sazh, if you say something about this,
18:28I'll never live it down with my dad.
18:30With anyone.
18:32I don't know what I'll do
18:34if this gets out.
18:38Rex...
18:40I don't trust you anymore.
18:42Tomorrow I'm gonna fly to New York
18:44to see Charles make his Broadway debut.
18:48And after, I'm gonna see him.
18:50And I'm sorry.
18:52But I gotta tell him.
18:54But I gotta tell him.
18:56Can you please not do that?
18:58Out!
19:00Go!
19:10I'm really sorry, Sazh.
19:12Yeah, me too.
19:16What was I supposed to do?
19:18Let her ruin everything I'd worked for?
19:22Then I remembered the Dudenov apartment.
19:26And I booked a red-eye.
19:32Sazh had included this whole subplot
19:34in her first track.
19:36Extraneous, if you ask me.
19:38It's the first thing I cut.
19:40But I knew there was an empty apartment
19:42and what the code was to get in.
19:52I couldn't do it.
19:54It's okay.
19:56You're not a killer.
19:58You're not a killer.
20:00You're a writer.
20:02You're not a killer.
20:04You're a writer.
20:06You're a writer.
20:08You're a writer.
20:10You're a writer.
20:12You're a writer.
20:14You're a writer.
20:16You're a writer.
20:18You're a writer.
20:20You're a writer.
20:24No, fucking not.
20:28But maybe,
20:30maybe to be a writer,
20:32I had to become a killer.
20:34Only she didn't die.
20:50I had to think quick.
20:52One reason I made a good stuntman?
20:54No fear of heights.
21:04No fear of heights.
21:34I'm sorry it had to end this way.
21:36I just...
21:38I need this.
21:42Where's the script?
21:44The one with your name on it?
21:46He's gonna get you.
21:48Who?
21:50Who will?
21:52I...
21:54know her.
21:58What?
22:00What?
22:08So you watched her die,
22:10and you threw her down the trash chute
22:12like she was garbage.
22:14Think of it as her final stunt.
22:16It's not the vibrator setting!
22:18Damn it, Evan Longoria!
22:20Charles, fix it!
22:24Oliver!
22:30Okay, next time, let's not have her killer
22:32be a professional stuntman.
22:34There is no next time.
22:36Maybe my dad was right.
22:38This is my talent.
22:40So, welcome to the end
22:42of your movie.
22:44Aah!
22:46Aah!
22:54God.
22:56What?
22:58Aah!
23:04No fucking way.
23:24How did you get into my apartment?
23:26I never left.
23:28You've been hiding in my closet
23:30for three weeks?
23:32And the secret passageways.
23:34I was just waiting for you to figure out the case
23:36so I could exact my revenge.
23:38We did it together, Charles.
23:40For sass.
23:42I'm good at seeing through tiny slits
23:44and window blinds,
23:46but I would much rather have taken Marshall out up close,
23:48you know?
23:50Stabbed him through the eye with a buck knife
23:52and really mixed it around.
23:54I truly don't know how you make words
23:56like that arousing.
23:58Oh, Charles.
24:00Now, by the way, I ate a bunch of your pirate booty
24:02when I was in hiding.
24:04I'll Venmo you eight bucks.
24:06Call it even for serial killing our serial killer.
24:08I got her. Let's go.
24:10Goodbye, Jan.
24:12It's not goodbye, Charles. It never is with us.
24:14We're endgame.
24:18Hi.
24:20Well, it's hard to deny you make a cute couple.
24:22Oh, God.
24:24Seems like an awkward time to celebrate.
24:28Although I have an out-of-the-box idea.
24:30Isn't it insulting to flirt now?
24:32Oh, who the hell knows?
24:34Suddenly it's rude to tell a secretary
24:36she looks pretty in a pair of slacks.
24:38Nope. No to that whole sentence.
24:40Compliment her purse.
24:42If it isn't on their body,
24:44you can like it.
24:46No, again, to every word
24:48that's coming out of your mouth.
24:50I'm glad you're doing this.
24:52Being alone in life is making you weird.
24:54Thank you?
24:56And cut.
24:58Are you gonna snort like that?
25:00Well, he does.
25:02Poor bastards.
25:04Think they just have to solve Tim Kono's murder.
25:06Little do they know,
25:08the bodies just keep on dropping.
25:10Oh, there you go again,
25:12saying Loretta's gonna get murdered.
25:14I didn't say that.
25:16Every time I have a big moment, an opening night,
25:18I say, hey, guys, are we amazing or what?
25:20This is good.
25:22Doing a good job.
25:24My level of cringe is mercifully low.
25:26Heard you caught the killer.
25:28Couldn't have done it without us.
25:30Although I'm not entirely sure
25:32what we did, but I can't say
25:34it didn't help.
25:36I knew that guy Marshall was a shitty writer.
25:38He was trying to get my character to say not
25:40after each sentence. I loved it.
25:42Not.
25:44Mabel,
25:46I have great news,
25:48so I set our pitch meeting for next week.
25:50So I hope you've been fleshing out
25:52your ideas about the buttons.
25:54You know what? I'd rather tell the story
25:56of a stump woman who dedicated her
25:58whole life to protecting her friend
26:00who wrote
26:02a love letter to him
26:04in the form of a movie.
26:06Right.
26:08But the thing is, our algorithm really likes
26:10buttons. I don't think I belong
26:12in this industry.
26:14Hello?
26:16Yeah?
26:18We need to keep shooting, people.
26:20Excuse me.
26:24You know, I appreciate this movie
26:26in a whole different way now.
26:28I mean, Sazh wrote this.
26:30Oh, Charles.
26:32Hey.
26:42Sorry you're missing
26:44all this. Yeah.
26:46Would have been nice.
26:50I think this is your chair.
26:52Well,
26:54thank you, my friend.
27:02Actually, I miss that guy.
27:06You did good.
27:08I know this is just me telling myself
27:10I did good, but
27:12I'll take the compliment.
27:22It's been a long day.
27:24Let him talk to himself.
27:26Ha, ha, ha.
27:30Going to the chapel
27:32and we're
27:34gonna get married.
27:38Going to the chapel
27:40and we're
27:42gonna get married.
27:46We really love you
27:48and we're
27:50gonna get married.
27:52Going
27:54to the chapel
27:56of love.
28:00Spring is
28:02here. The
28:04sky is
28:06blue.
28:08Birds are
28:10singing.
28:12Okay, where is she?
28:14She's coming. Yeah, any second.
28:16No, no. Something has happened.
28:18Oh, word.
28:20We'll say I do
28:22and...
28:24Sorry, I thought I saw
28:26a roach.
28:52Sorry, we lost track of time.
28:54We had a lot of catching up to do.
29:22Be my man, be my husband,
29:24be my friend, be my lover.
29:52Well, we
29:54put on a good show.
29:56Mrs. Putnam? Yeah,
29:58Mrs. Durkin Putnam.
30:00You forgot my hyphen.
30:02Forgot it?
30:04That's all I think about.
30:10You are the most
30:12extraordinary man I have
30:14ever known.
30:16You are. You brought down a
30:18murderer. And you can
30:20break me. I mean...
30:22What a combo.
30:26Here it is. I can't.
30:28I just...
30:30can't imagine
30:32taking you away from all this.
30:34What are you talking about?
30:36I can't wait to be in New Zealand.
30:38You know, with all the...
30:40sheep.
30:42Anyway...
30:44I'm gonna be with you.
30:46Mm-hmm.
30:48I won't be with them.
31:00Yeah? Yeah.
31:02Olly, we
31:04got our happy ending, didn't we?
31:06Yeah, we did. And nothing in our
31:08relationship has ever been even vaguely
31:10conventional. So why
31:12should we start now?
31:18Let's talk about it tonight.
31:20Yeah.
31:24Did Oliver and
31:26Loretta go up already? Yeah.
31:28She leaves first thing, so
31:30I think they're taking
31:32care of their honeymoon business while they can.
31:34Let's just
31:36pretend they're upstairs playing show tunes
31:38on the piano. Well, my date
31:40and I had a grand old time.
31:42You brought the ashes?
31:44Yeah, Sazh loved weddings.
31:46But I'm gonna say goodbye to
31:48these, sprinkle them on the land that
31:50Sazh wanted for a trampoline park.
31:52I think that's where she'd like to end up.
31:56Mr. Savage?
31:58Miss Mora. I hope
32:00it's okay. I was upstairs looking for you.
32:02There was no doorman on duty. I
32:04took a shot. I'm sorry, do we know
32:06you? No.
32:08I'll send it back down for you.
32:10If I feel like it.
32:12I
32:14want to hire you to find
32:16my husband. It's urgent.
32:18We're not a detective firm.
32:20My husband is
32:22Nicky Cacciameglio, or
32:24was, if you believe the news.
32:26I pay very
32:28well. We only investigate murders
32:30in the building. It's right
32:32there in our name. What happened
32:34to Nicky has everything
32:36to do with this building.
32:38I'm sorry, but good luck.
32:40I'm disappointed.
32:42I thought maybe you
32:44could do what the police have been unable to
32:46and what I can't
32:48safely do by myself. Sophia
32:50Cacciameglio.
32:52Call.
32:54Change your mind.
33:04That's quite a dame.
33:06In the same way that Judy
33:08dentures a dame. God save.
33:14You are going to come, though, in
33:16a few weeks. You're not going to leave me
33:18high and dry in New Zealand, are you?
33:20You can't
33:22kiwi me away.
33:26Sorry.
33:28Have you been?
33:58I love you.
34:06And as the
34:08last frames flicker on our season
34:10at the movies, between
34:12newlyweds and a captured
34:14killer, we somehow
34:16managed to find our way
34:18to a happy ending.
34:20And got through a whole wedding
34:22day all without a
34:24body. You mean
34:26a body.
34:28You must be doing something right.
34:34Beautiful day.
34:36Feel that breeze.
34:38It's nice to take a moment
34:40and enjoy. Yeah. Wait.
34:42Oh my god!
34:46Lester?
34:48Lester! Call 911!
34:50Call 911!
34:54Lester!
35:00Oh my god, no!
35:02Lester!
35:04Thank you for calling 911.
35:06There are
35:0872 emergencies ahead
35:10of you.
35:20Who's ready
35:22for Hollywood?
35:24Who's ready
35:26for Hollywood?
35:28Who's ready
35:30for Hollywood?
35:32Who's ready
35:34for Hollywood?
35:36Who's ready
35:38for Hollywood?
35:40Who's ready
35:42for Hollywood?
35:44Who's ready
35:46for Hollywood?
35:48Who's ready for Hollywood?
35:50Where you're terrific
35:52if you're even good.
35:54Where anyone at all from
35:56Sophie Lauren to
35:58Mame Van Doren is equally
36:00understood.
36:02Go out and try your luck.
36:04You may be Donald Duck.
36:06Who's ready for Hollywood?
36:18Who's ready for Hollywood?