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Madeline’s agreed upon ten years of beauty and fame are finally almost up. Gone faster than she’d ever expected, she is determined to make the last of it mean something.
So, for her last Christmas, she plans Madeline Ashton’s Intimate Christmas Extravaganza, the Christmas special to put all other Christmas specials to shame.
Helen has been “dead” for three years now, living discreetly in Madeline’s—now their—mansion while she waits out the last of Madeline’s deal with Viola. Madeline takes advantage of this, batting her lashes and utilizing carefully placed touches to coerce Helen to use her now “endless free time” to write Madeline’s Christmas special for her.
It doesn’t take much convincing. Mad is right, Helen does have all the free time in the world for now—before Madeline joins her in “death” and they figure out what their next move will be. And it means a lot that Madeline asked her to write it. Mad has some of the greatest currently living writers at her disposal, begging for the chance to write for her, and the one she wants is Helen. Her only concern is, “I’m dead, Madeline. How will you explain that?”
“Well that’s simple, Hel,” Madeline says with an easy wave of her hand. “You wrote it for me before you died. It’s just always been too emotional to actually do before now.” She pulls out the fake tears to emphasize her point. “But I’m ready to honor you and the last work we ever did together.”
And how could Helen say no to that? Especially when she finds herself pulling Mad into her arms and pressing a kiss against her cheek. She knows the tears are all for show, but Mad is just that good of an actress, and Helen just loves her so much. “Of course I’ll write it,” she says, and the next thing she knows, Madeline’s lips are pressed against hers, all signs of tears gone from her face.
Helen spends the next six weeks working endlessly on Madeline’s special—or, extravaganza, as Madeline insists on calling it. To her dismay, it takes far more drafts than she anticipated. Because maybe she thought this time Mad might want to do something a little different and actually show the world her real self before she leaves it in the upcoming year. But Madeline insists on her usual theatrics.
“It’s not an extravaganza without glitter, Helen,” she chastises one day. “And of course I’ll need to open with ‘All I Want for Christmas Is You’: my audience!”
Helen tries to tone Mad’s ideas down, but every time she does, Madeline of course has to complain. It’s only once she admits, “This is my last big show, Hel, I want to go out with a bang,” that Helen gives in and gives her what she wants.
Madeline Ashton’s Intimate Christmas Extravaganza, the sold-out one night only special written by none other than Madeline's late girlfriend Helen Sharp, takes place at the Dolby—becuase if Madeline Ashton isn’t going to get to carry an Oscar off that stage in this lifetime, she’s at least going to perform on it.
Helen, disguised in a blonde wig with bangs and a ponytail, has the front row, dead center seat because there’s nowhere else she’d ever be on Madeline’s big night. But before she takes said seat, she’s with Madeline in her dressing room, helping her love prepare for this big moment.
“You look beautiful, Mad,” Helen tells her. She’d spent all last night on Madeline’s touchups, making sure every inch of her body was perfect. Not that she ever thinks Madeline isn’t perfect, but there are some things, like peeling skin and pale lips that are only for Helen’s eyes.
Madeline’s first costume is an exact replica of Mariah Carey’s skintight, red jumpsuit with white fur trim and shiny black belt she wore on the cover of “All I Want for Christmas Is You.” Because just as she’d requested, that’s her opening song.
For all her pleasure at hearing Helen compliment her, old habits still die hard for them, and sometimes a carefully placed insult is their love language. “And you look better as a ginger.”
“Yes, well, we can’t all look as good blonde as you.”
“Most people can’t do a lot of things as good as me,” Madeline singsongs in that way Helen secretly loves. Then she turns back to the mirror, looking at herself in all her costumed glory. “I’m going to miss this,” she admits softly.
Helen comes up behind her and pulls her close, careful not to ruin her meticulous hair and makeup. “You’re a star, Mad. You always have been, always will be. Even when you’re dead.”
“Do you think I’ll ever get to do something like this again?”
“I’m sure we’ll think of some way to make that happen. Forever is a long time. We have time to get creative.”
Madeline stares at their reflection in the mirror: her in the center with Helen behind her, arms around her waist. Helen may not look like her usual self, but she’s still Helen, and Madeline wouldn’t ever want her anywhere other than by her side. “Thank you for doing this for me. I know I’m your person, but I also know I’m not always the easiest—”
“I would do anything for you, Mad. I love you.”
That brightens Madeline up. “I love you, too, Hel. You’re the only one I’d have for forever. Literally. Gross peeling skin and all.”
“How flattering,” Helen quips as the five minute bell sounds.
“That’s my cue,” Madeline says.
Helen smiles at her. “I’ll go take my seat.” Before she can leave, Madeline pulls her in for a kiss. “Break a leg, love.”
Madeline laughs. “Better that than my neck, I guess.”
Which has Helen cackling more than it probably should, but tease each other as they still may, any grievances about the past have long since been put to rest.
Madeline loves when Helen laughs like this, so she continues, “Anyway, if I do, at least you know how to fix it.”
Helen laughs even more, coming back in for one more kiss and a fondly whispered, “You’re insufferable,” before making her way to her seat.
The extravaganza is everything Madeline ever dreamed of and more. Starting with her desired “All I Want for Christmas Is You” and the beautiful, heartfelt speech Helen wrote her about how this wonderful audience is all she could ever want for Christmas and she’s so thrilled to be on this stage sharing this evening with them. She adlibs the tiniest bit, throwing in that the only thing that could’ve made the night better was if her Helen were there to see her, but, “I know she’s here in spirit…or as a ghost in some disguise,” she says with a wink in Helen’s direction.
It makes Helen’s chest flush, and Madeline acknowledges it with a pointed smirk as she begins the next song, “It’s the Most Wonderful Time of the Year,” complete with dancing Christmas trees and a video compilation of pictures fans sent in of their outdoor Christmas decorations. “Decorating for Christmas is one of my favorite things! Well, I don’t so much decorate myself anymore, but I love watching Stefan do it. He’s the best! Look how great a job he did this year!” At which point, Madeline’s own Christmas decorations are displayed behind her for all to see.
Helen had argued this one, “Maybe you shouldn’t show the outside of our house…”
But Madeline had been insistent, “Our address is on the internet; it’s not like nobody can find it. We have security. And we’ll have to leave soon anyway once I’m dead.”
That had led to its own argument and breakdown, so in the end, yes, Helen had given in on allowing their home to be displayed for all to see.
Madeline brings Stefan out to receive praise and applause for his handiwork and beautiful decorations. And, as was Helen’s idea, he appears in a snowman costume, ready to segue Madeline into her upbeat rendition of “Frosty the Snowman.”
It’s a hoot, as Helen expected it would be, and after, while Madeline and Stefan do a quick change, is an instrumental version of “Carol of the Bells” with a slideshow of Madeline’s holiday pictures from years past. Celebrity parties she’s attended, outings choosing a Christmas tree with Stefan, young Madeline in high school and college Christmas productions, and even a few pictures of Madeline and Helen in the last ten years cuddled by the fireplace and exchanging gifts under the Christmas tree.
Madeline comes back out on stage in a short beige dress with white fur trim, a red polka dot bow in her hair, and a cute pair of reindeer antlers. She starts on the script Helen wrote her for this Clarice bit, which includes Madeline calling out for Rudolph, and Stefan appearing on stage in his own brown tracksuit, reindeer antlers, and glowing red nose.
First Madeline sings “There’s Always Tomorrow” and that transitions into “Rudolph the Red-Nosed Reindeer,” complete with a singalong verse the audience goes crazy for.
While Stefan leads the singalong verse, Madeline rushes offstage for another quick change—this time donning a long, velvet green dress with matching emerald jewelry. She’d picked this outfit specially because, “It reminds me of your eyes, Hel,” she’d said when she first laid eyes on it, and that meant she just had to have it.
When she runs back out, it’s with those dancing Christmas trees, and they all sing “Rockin’ Around the Christmas Tree” with precise choreography.
As the evening goes on, Helen has to admit that maybe she’d been wrong at first. Maybe this extravagant display is exactly the Christmas special Madeline needed. Anything else just wouldn’t be her. Yes, there are more layers to Madeline that Helen knows well, but nobody else does. And now, their rocky past behind them, Helen dreams of people seeing the real Mad, not just the spectacle of Madeline Ashton, and loving her for that version, too. But the people love Madeline Ashton, and maybe Helen’s just a little smug that she’s the only one who gets that other, softer version. The version that clings to Helen in her sleep and thanks her for writing this Christmas special and tells Helen she loves her.
The first act ends with “Let It Snow,” complete with fake snow falling from the ceiling for everyone to revel in during intermission.
As the lights go up, Helen makes her way backstage, back to Madeline’s dressing room. Madeline is already in the middle of a makeup revamp—less red and smoky and more sparkly and white for act two—but the moment she hears Helen say, “You’re wonderful,” she’s rushing away from her makeup artist and throwing herself in a disguised Helen’s arms. She starts to lean in for a kiss, but Helen discreetly pushes her away, clearing her throat and turning her attention to the others in the room.
Right, Madeline thinks. They’re not alone. And no one else knows this is Helen. As far as they know, Helen is dead and Madeline is single. So, knowing she has an audience, she keeps up the charade, telling Helen, “Well of course I am.”
Helen just laughs, guiding Mad back over to her makeup artist. The makeup artist gives Madeline a questioning glance, but all she gives in response is a glare.
“And you look stunning,” Helen adds.
There’s a playful, mischievous glimmer in Madeline’s eyes. “Well, thanks to my hair, makeup, and neck team,” she says, a comment reminiscent of their past, but also with its own new meaning in this part of their lives, and Helen understands exactly what she means by it.
“Well, they’re great,” Helen brushes off; not wanting anyone else to catch onto them. “I should get back, but I just had to tell you you’re amazing.”
“The material is amazing,” Madeline says, the closest to a thanks she can give in current company. Then, beaming with pride, she adds, “My Helen wrote it just for me.”
“I’m sure she’d be so proud of what you’ve done with it.”
The words hit, and Madeline has to force herself not to cry. Instead, she says. “And there’s still more to come,” as Helen takes her leave and heads back to her front row seat.
Act two opens with Madeline clad in a skimpy, red lace negligee as she sings Santa baby. Helen can’t tear her eyes from Madeline the entire time. She’s taken that little number off Madeline before and knows intimately what’s underneath; she can’t stop her mind from wandering as she watches her in it, imagining what’s likely in store for her when they get home.
The rest of the concert goes off without a hitch. Madeline is perfect, just like Helen knew she would be. The audience is clearly having a blast, and she knows Madeline must be thrilled by all the cheering and applause.
After her last song, “I”m Dreaming of a White Christmas,” which she sings in a beautiful, sparkling white gown, there is, of course, a planned encore. While the audience cheers and begs for, “One more song! One more song!” Madeline changes into a sparkly, beaded pink dress she stole from Helen’s closet (and then had altered) and comes out to sing her final song, “We Need a Little Christmas.” She receives another standing ovation, with Helen being the first on her feet.
Madeline says her thank yous as planned, but then surprises Helen with something she never expected.
“This is the ending my Helen wrote for the show, but I have just one more if you’ll all indulge me.”
The audience cheers like crazy, thrilled for the night to not be over yet.
Madeline is nervous, Helen can tell that as blue eyes find hers while a small, unsure smile crosses Madeline’s face so fast Helen is sure no one else sees it. But she did see it. So she nods at Madeline encouragingly, eyes filled with curiosity.
Stefan, now in a white suit with a beaded pink tie made from the alterations on Madeline’s gown, wheels a large white piano out on stage. He sits, readying himself to play. Once he’s settled, he gives Madeline a nod, her signal to continue.
“This one’s for you, Hel, you’ll know why. And…you wanted to see something different for once, so here it is.”
And then, with no crazy upbeat music, no backup dancers, no slideshow, and no fake snow—just Mad and soft, piano accompaniment—Madeline sings “O Holy Night.”
It’s the most beautiful thing Helen has ever heard. Because Mad’s voice like this is stunning and the emotion she shares is more than she’s ever given an audience like this before outside of playing a role. It brings Helen to tears almost immediately, listening to her lover sing—nothing fancy, no spectacle, just her. And when Mad sings the words, “O holy night,” resting a hand on her stomach as she specifically says, “holy,” with a discrete wink, Helen can’t help the half laugh, half sob that slips past her lips. Because of course Mad is surprising her and dedicating “O Holy Night” to her and the hole she put in her stomach. It’s the most twisted love confession, and Helen loves every second of it.
Madeline is still holding the last note when Helen stands in applause, the rest of the crowd quickly following her lead.
Mad has tears in her eyes as she bows and takes it all in, eyes first meeting Helen’s, then scanning the theatre and really experiencing this moment. “Thank you all so much. I love you all. Happy holidays,” she says, and then she’s offstage. Her big night is finally over.
By the time Helen meets her backstage, Madeline has already changed into a velvet white tracksuit and has taken off the majority of her stage makeup. “Are you ready?” she asks.
Helen is a little surprised; she’d thought Mad would want to revel in the evening a bit more, but this is Mad’s night, so if Mad wants to go home immediately, Helen is fine with that.
The drive home is quiet, Madeline’s hand in Helen’s the entire time, but again, it’s not exactly what Helen had been expecting. She thought Mad would be on a high after her performance and wouldn’t be able to stop talking about it. Instead, she’s quiet, even going as far as telling Helen, “Wait ‘til we’re home,” when Helen starts to praise her.
“Can I talk now?” Helen asks once they’re finally home, taking off their coats and settling in.
“Quickly. I have something to say, too, but you can go first.”
“Mad, that song—‘O Holy Night’—that was…beautiful. You’re amazing, Mad. And you did that for me, I…thank you.”
“There’s more,” Madeline says, taking Helen by the hand and leading her to the living room. She walks Helen over to the baby grand piano in the corner of the room, seating both of them on the little bench, thighs pressed together and shoulders bumping.
“What—?” Helen starts to ask, but Madeline interrupts her.
“I asked Stefan to teach me,” she says quietly. “I knew you’d like the other one, but this is really for you—for only you.” She leans over and kisses Helen, a deep kiss conveying all the love she feels. “I love you.” She starts playing, softly, cautiously. Then she starts to sing:
“There’s a place called home
I can almost see
With a red front door
And a roaring fire
And a Christmas tree”
Helen has tears in her eyes already, listening to Madeline, the person she loves most in this world, serenade her with this love song meant only for her. And it’s not just any song. It’s their song. It’s the song Mad hums whenever Helen has an anxiety attack and needs help calming down. It’s the song Mad mumbles in her sleep sometimes, safe in Helen’s arms.
Mad continues to sing:
“It’s a place called home
Full of love and family
And I’m there at the door
Watching you come home to me”
Helen gently wraps her arm around Madeline’s waist, not wanting to disturb her playing, but needing her even closer as she continues to sing,
“Through the years
I’ll recall this day
In your arms
When I finally found my way
To a place called home
And a life with you
Where the days are long
And the love is strong
And the dreams are true
Just a place called home
You and I will always see
Through the dark of the night
Let your heart come home to me”
Mad is crying, too, as she pours her heart out in song, tears permeating her words, but that only makes them all the more beautiful to Helen. Helen leans over to press a soft kiss against Madeline’s cheek and squeezes her waist just a little tighter.
Then she takes a chance, singing along with Mad:
“Through the years
I’ll recall this day”
She knows she’s done the right thing when Mad turns to her with a watery smile and a nod. So they continue together:
“In your arms
When I finally found my way
To a place called home
And a life with you”
Helen lets Mad take it from there, with “Where the days are long,” and, after a nod from her lover to take the next line, sings herself, “And the love is strong,” before they’re singing together again:
“And the dreams are true
Just a place called home
Where you and I will always see
Through the dark of the night
Let your heart come home to me”
A quick, gentle touch to Helen’s thigh lets her know that Madeline wants to sing the next part alone. So she lets her.
“For the rest of your life
Let your heart come home to me.”
The moment Madeline finishes the final note, their lips are on each other, arms around each other, hands grasping for whatever they can reach.
“I’m ready, Hel,” Madeline whispers against Helen’s lips, words and kisses salty and wet.
Helen pulls back just enough to press their foreheads together and look into Madeline’s eyes. “For what, love?”
“To die.”
Helen’s hand finds Madeline’s. “What do you mean?”
“My ten years are almost up and I want to go out on a high note. This—tonight—nothing will be better than this. So I’m ready to die.”
“...Tonight?”
“Tonight.”
“But—”
“I could put it off, but what’s the point? I’ve done all there is to do out there; I have everything I need.”
“Mad—”
“I have you. And you’re home. Forever and ever.”
“You’re sure about this?”
“It’s all planned out,” Madeline says, and that gets Helen’s attention. “Tomorrow morning, Stefan will find my lifeless body in bed. Chagall will be waiting at the morgue to fake my cremation and then you and I walk off into the sunset together.”
“You’ve really thought this through.”
“I have.”
“We’ll have to leave the house—”
“You know, about that…I may have left it in my will to the name I plan to take in our new life.”
Helen raises a suspicious brow. “Oh did you?”
“I mean, why should we have to give up everything?”
"And exactly what name is that?"
"Uh uh, that's for me to know and you to find out." Helen is clearly about to object, but Madeline still continues, "And before you say anything, yes, I have your new identity picked out, too. You'll just have to wait and see until we're ready."
Helen lets out a clearly fake sigh of exasperation as she leans in for a kiss. “I guess if we’re talking about forever, I could’ve done worse than you,” she teases fondly.
Madeline scoffs. “Oh please. You’re thrilled to have me forever and you know it. The rest of eternity with the Madeline Ashton: 'a stunning delight in an otherwise disappointing franchise'—I think you’re the luckiest girl in the world.”
“Not Madeline Ashton,” Helen clarifies. “Just Mad. My Mad. Madeline Ashton is great, but my Mad is better.”
“Well, lucky for you, you get every version of me to ever exist—now until forever.”
Helen smiles and playfully rolls her eyes. “Yes, lucky me."