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The Eleven O'Clock Number

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"No, just, 11 o'clock is a significant time. If we were in a musical, this is where I would perform my big 11 o'clock number. [...] An 11 o'clock number is a big showstopping number with some sort of thematic revelation, and it usually happens around 11:00 p.m., because shows used to start at 8:30, but now they start earlier for some reason."
Rebecca, Crazy Ex-Girlfriend

So you're almost at the end of the show, and things are looking very uncertain but you know the show's about to end. That's when you know this trope is about to kick in. The Eleven O'Clock Number is a song in a musical placed near the end of the second act, before the plot's loose ends are tied up. The song usually represents an emotional turning point or revelation for the main character(s) and is almost always the last number in the show that isn't a reprise of an earlier song or the absolute final song.


The term is a holdover from the days when all musicals started at 8:30 PM and had to have a climactic song around 11:00, because it was preferable to have audiences out shortly afterwards. In an exception to the anti-rule that musical numbers don't have to be, and usually aren't, written in the order in which they appear in the show, the 11:00 number is very often the last one added to the show.

Largely a Theater trope. Seen in musicals and works that follow the musical format, as well as the odd Concept Album. Compare and contrast Climactic Music. Not to be confused with The Song Before the Storm, which is sung before the climax begins, not to initiate it.



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    Films — Animation 
  • Arlo the Alligator Boy has "Something's Missing", as Arlo meets up with Ansel at the Met Gala and tries one last time to reach out to him and accept him as he is, while the latter has mixed thoughts over how long he should keep his true self suppressed. This is but mere moments before Arlo is captured by Ruff and Stucky, and Ansel reveals his true image as a birdman.
  • Barbie films:
  • The titular song from Sleeping Beauty, as the three good fairies are putting the castle to sleep.

    Films — Live-Action 
  • Descendants series:
    • The a capella rendition of "Be Our Guest" from the first film, sung during Family Day just before the coronation scene which coincides with the battle against Maleficent. Also "If Only" where Mal realizes that she's starting to genuinely fall in love with Ben.
    • "It's Goin' Down" from the second film, sung during the scene Mal is tricking Uma so she can save Ben which later on results in the pirates attacking.
    • "My Once Upon a Time" from the third film, sung right before Audrey has Celia held hostage and Mal turns into her dragon form which leads into the Final Battle.
  • The live action Aladdin has "Speechless Part 2", as Jasmine finally learns to take a stand for herself.
  • For the live action Beauty and the Beast, the Beast's "Evermore", as the Beast, while watching Belle ride away, realizes how she has changed him, both for the better, and now that she's leaving, for the worst.
  • Z-O-M-B-I-E-S (2018):
  • "I'm Going To Go Back There Someday" from The Muppet Movie, as Gonzo contemplates on how little we actually spend on this earth, and in the grand design there's something greater beyond that.

    Live-Action TV 
  • "Something to Sing About" from the "Once More With Feeling" episode of Buffy the Vampire Slayer. Buffy reveals that ever since she was forcibly brought back to life, she's felt empty inside.
  • "You're Going to Be Okay", where the doctors assure their patient that they will be with her every step of the way, from "My Musical" in Scrubs.
  • The song "Hold on Me" at the end of episode 13 of Backstage resolves Bianca's Hidden Depths storyline, but sets up the finale's two major conflicts: the growing tension between Miles and Alya, and Vanessa's Career-Ending Injury.
  • Discussed in Crazy Ex-Girlfriend's Grand Finale. Musical theater superfan talks about how how the eleven o'clock number came to be and then sings about her journey so far in a song full of callbacks aptly titled "Eleven O'Clock". The callbacks are in the form of dresses on mannequins, and at one point she forms an eleven-o'clock with her body.
    • "The Darkness" is a slow but climactic love ballod that sums up Rebecca's drive to obcess over different men, thus answering the dramatic question that kicked off the entire series. "Love's Not a Game" is a giant, zany, high-energy number that gives all the side characters outside of the Love Dodecahedron one last chance to show off before the plot turns squarely back to Rebecca.
  • From Smash the shows within the show has "Hang the Moon", in which Marylin envisions having a loving conversation with her dying mother, for "Bombshell" and "The Love I Meant to Say", Jesse declares his love for Amanda/Dina before she dies in his arms, for "Hit List".
  • On Roundhouse this is known as the "third act ballad", the song that sums up the episode's themes, typically an Award-Bait Song.

  • "First Dance" in Steeleye Span's Concept Album of Wintersmith. It's the point in the book where Tiffany turns the tables on the wintersmith. After that on the album, there's an instrumental of the Dark Morris itself, a celebratory song about the Summer Lady's return, and two thematic epilogues, one about A'Tuin and one about Sir Terry. But the story itself is resolved.
  • Concept Album Ghost Quartet has "Hero."

  • "Champagne" and "When The Sun Goes Down" from In the Heights. It sparks the romantic resolutions of Usnavi and Vanessa, and Nina and Benny respectively.
  • "No More" and "No One Is Alone" of Into the Woods fame both have elements of this.
    • In "No More" the Baker, after having a reconciliation with his father decides to end the cycle of abandonment in his family.
    • "No One is Alone" The Baker and Cinderella comfort the newly orphaned Jack and Red, and offer words of wisdom to the two.
  • "Being Alive" from Company. Lady-Killer Robert finally realizes that he wants what all his friends have. Someone to love and to make their way through life with.
  • "Move On" from Sunday in the Park with George. George is met by the spirit of his Great-Grandmother Dot, who tells him, like his inspiration, and his great-grandfather George Seruat, to not focus on the past, but to learn from it.
  • "If He Walked into My Life" from Mame. Having just had a serious argument with Patrick, Mame solemnly wonders where she went wrong in raising her nephew, and if she had the chance she would have fixed the problem before.
  • "Memory" from Cats, where Grizabella wistfully sings about her glamour days. This musing gets her chosen to ascend to the Heaviside Layer.
  • "Confrontation" from Jekyll & Hyde. As the song says, both Jekyll and Hyde have a battle of wills within his mind, while debating the Good and the Evil in them, and ultimately, in the World.
  • The Phantom of the Opera: "The Point of No Return". The Phantom, disguised as Piangi and Christine take the stage together, singing both in-character as Don Juan and his Conquest, and as themselves of how it's too late to turn back from the events that are about to unfold.
  • In the sequel Love Never Dies, this is the title song's function. Christine takes the stage, singing the Phantom's aria, realizing that the Love she is singing isn't of Raoul's, or even the Phantom, but the love for music.
  • "Back to Before" in which Mother realizes the changes that have occurred between her and Father, or "Make Them Hear You" in which Coalhouse encourages his followers to take the way of peace to make a difference for race relations, from Ragtime.
  • "Rose's Turn" from Gypsy is the last major song in the show, in which Louise has outgrown Rose's influence and Rose sings about her own desires to be a star instead of her daughters always being in the spotlight, imagining her own name in lights.
  • "From This Day On" from Brigadoon. Though Tommy has decided to leave Brigadoon, he and Fiona assure one another they will never forget each other.
  • "The Fire Within Me" from Little Women. Starting as Jo's second BSOD Song after "Astonishing", it culminates with her inspiration for writing Little Women coming from her sisters. It's arguably the best-written song in the show.
  • "With So Little To Be Sure Of" from Anyone Can Whistle. Both Fay and Hapgood realize that while it was brief, and partially fake, at first, their love affair really did mean something to the both of them.
  • "Sit Down You're Rocking The Boat" from Guys and Dolls. Nicely-Nicely and the other Guys all confess their sins, at first jokingly, but sincerely realizing that their obsession, nearing addiction, to gambling had been causing damage to their souls.
  • "What I Did For Love" from A Chorus Line. When one of the chorus members breaks his leg and can no longer perform, the other chorus members sing about how their love for the art of theater even if it can be taken away at any moment, summarizing the major theme of the musical.
  • The Guy Who Didn't Like Musicals:
    • "Show Stoppin Number" is a parody of the trope, a big number Hidgens sings as part of the big reveal that he wants to turn humanity over to the aliens due to his love for musicals. However, it derails quickly into Hidgens just bragging about the musical he's writing.
      Professor Hidgens: This is humanity's eleventh hour, and I've prepared something for the occasion.
    • The number for the musical proper is "Let It Out," in which Paul sings for the first time while confronting the alien hub, leading to a crisis about whether it would be a happier life to join the hive than keep living his miserable life.
  • "Anything You Can Do" from Annie Get Your Gun. Both Annie and Bill have a contest of personalities, declaring each to be better than the other.
  • "Guenivere" from Camelot. With Arthur grief stricken in a situation where he has no choice but to sentence his beloved Queen to death, for her betrayal, both he and his subjects openly hope for Lancelot to return to her rescue.
  • Show Boat originally had an 11:00 song to show off Magnolia's daughter, Kim (here played by the same actress as Magnolia) in a 1920s-type production number. The original 11:00 song, "It's Getting Hotter in the North" (based on Magnolia's Leitmotif), was cut and replaced by a reprise of "Why Do I Love You" with impersonations and a jazz dance. The London production used an entirely new 11:00 song, "Dance Away The Night." The 1936 film version built up an elaborate production number around the Movie Bonus Song "Gallivantin' Around," which fell victim to editing before it was released. The 1946 Broadway revival used yet another newly written song, "Nobody Else But Me," but dropped the number without replacement when it went on tour. The 1994 Broadway revival replaced it with a dance number, "Kim's Charleston."
  • "Get Out and Stay Out" from 9 to 5: The Musical
  • "The I Love You Song" from The 25th Annual Putnam County Spelling Bee, the most serious and sad song in an otherwise comical musical. Olive has a fantasy of her physically and emotionally distant parents telling her that they love her.
  • "Your Eyes" from RENT is the song Roger spent the entire musical trying to write, which he sings to a dying Mimi as he realizes he truly loves her.
  • "The Winner Takes It All" from Mamma Mia!, as Donna finally gets to confront Sam over all of the unresolved issues he created within her when he left her the way he did.
  • "Till There Was You"" from The Music Man. Marian declares that Harold has made her life better, and taught her what it means to truly love somebody, and in doing so Harold realizes he too has fallen real love with Marion.
  • "So Anyway" leading directly into "I am the One (reprise)" from Next to Normal, featuring Diana deciding to leave the family and Dan admitting that he could see Gabe the whole time. Both songs feature the two adults realizing that they never properly grieved their son's loss and deciding to finally do so in the way they need.
  • "The American Dream" from Miss Saigon. The Engineer dreams of a life in America, where everyone has an actual chance of a better life.
  • "We're Not Sorry" from Urinetown, though the turning point is more for the ensemble and ingenue (who are finally carrying out their rebellion against Cladwell and his lackeys) than for the hero. Hard to have an epiphany when you died two songs ago.
  • "You and Me (But Mostly Me) [Reprise]" from The Book of Mormon features Elder Price, who previously devoted his entire life to converting as many people to Mormonism as possible, finally realizing that Elder Cunningham was right that religion shouldn't be about blindly following scripture, it should be about creating a new community. It's a much more solemn version of this type of song, since it directly follows all of the missionaries getting excommunicated from the church.
  • Legally Blonde The Musical has "Legally Blonde", Elle's BSoD Song which she sings after Callahan sexually assaults and then fires her. It also has Emmett finally realize (or confess, depending on the productionnote ) his love for Elle. It's then followed by the Triumphant Reprise "Legally Blonde Remix" where Vivian and the rest of Elle's friends convince her to get back on the case and support her all the way to the courtroom.
  • Many Verdi operas have one of these, such as "D'amor sull'ali rosee" from Il trovatore and "Tu che le vanità" from Don Carlo. Soprano Leontyne Price was famous for nailing these after the rest of the cast had tired.
  • "The Meek Shall Inherit" from Little Shop of Horrors, which occurs right after Audrey II eats Mushnik and Seymour sacrifices his morals in favor of fame.
  • "All The Wasted Time" from Parade, Leo and Lucille finally realize that they do genuinely one another.
  • "Reviewing the Situation" from Oliver!. Fagin considers changing his life from that of crime, but can't decide how he would do so.
  • "I Wish I Could Go Back To College" from Avenue Q. An unhappy Princeton, a seemingly Stood Up Kate Monster and a homeless Nicky all reflect on how easier life was back in college, when they never really had to deal with real life, but also realizing that they can never go back, given they've all grown beyond that illusion.
  • The murderer's confessions in Drood can vary in content depending on the audience vote, but always serve as the pentulimate song that boisterously explains exactly what happened to Drood.
  • "Wrong Note Rag" from Wonderful Town in which Eileen, assisted by Ruth, makes her big showbiz debut.
    • Before that "It's Love", in which Eileen gets Bob to finally admit that he's fallen in love with Ruth.
  • "So Long, Dearie" from Hello, Dolly!. Fed up with his cruelty towards her and everyone around him, Dolly gives Horace the biggest telling off in musical history, declaring that since he values money over everything else, then that's all he'll ever have.
  • "I Guess I'll Miss The Man" from Pippin is a short and understated variant, in fact sometimes it isn't even listed in the programs, with Catherine singing a capella about her love for Pippin (seemingly in defiance of the leading player) before Pippin goes to partake in the finale number.
  • Stephen Sondheim's Follies has not one but four 11 o'clock numbers, one for each of the principal characters: the comic patter song "Buddy's Blues," the torch ballad "Losing My Mind," the Star Lady turn "The Story of Lucy and Jessie," and, finally, the top-hat-and-tails ditty "Live, Laugh, Love," which features a twist ending: as debonair Ben realizes that the cheery words he's singing are a horrible lie, he repeatedly flubs the lyrics and finally has a breakdown onstage.
  • The concert sequence from The Sound of Music, which has "Edelweiss" in between an elaborate reprise of "Do-Re-Mi" and a plain repetition of "So Long, Farewell."
  • "Dyin' Ain't So Bad" from Frank Wildhorn's Bonnie and Clyde, both Bonnie and Clyde are nearly cornered by the police, and are realizing that their time is almost up, but Bonnie lets Clyde know that she doesn't regret any second of her life, even her upcoming death, because Clyde was a part of it.
  • "Ain't It Good" from Children of Eden, Mama Noah leads her children in a song of praise towards Father, for giving humanity another chance.
  • "All for You" from Seussical. Maisey lets Horton know her feelings for him, stating he has never been alone in his endeavors.
  • "It's Always Love" from Sugar. is the third-to-last song. "When You Meet a Man in Chicago" is the second-to-last, but it doesn't fit the "revelation/turning point" part as well (and was originally a reprise anyway), while "It's Always Love" starts with one of the male leads denouncing love, and ends with him admitting that he's in love.
  • "Always Starting Over" in If/Then, in which Liz, surrounded by nothing but darkness and stars, finally comes to terms with her grief and vows to move on.
  • "Keeping Cool with Coolidge" in Gentlemen Prefer Blondes literally jazzes up the show when the characters and audience are getting tired of Gay Paree.
  • Les Misérables has "Javert's Suicide" at the eleventh hour, where Javert finally realizes he was wrong to label Jean Valjean as a criminal all this time and has a crisis of faith.
  • "Something Just Broke" from Assassins — the most emotional song of the show, and one for the ensemble, to boot.
  • "Revolting Children" from Matilda, when the students finally stand up and declare independence from Trunchbull.
  • The Wiz: "Believe in Yourself" (aka "If You Believe") has Dorothy and her friends realize they had what they wanted all along.
  • "Somebody's Got Your Back" from the stage version of Aladdin, both Aladdin and Genie realize their relationship is more than just simply a Master-Servant arrangement.
  • "Sister Act" fittingly from the Stage version of Sister Act. Delores is just about to receive everything she always wanted, fame, fortune, glory, but realizes she's discovered something greater. Friendship, and that she has learned to appreciate her sisterhood with the nuns.
  • Fun Home has three examples, set one after the other at the end of Act II: "Days and Days", "Telephone Wire" and "Edges of The World", leading up to Bruce Bechdel's suicide.
  • Robert's "It All Fades Away" from The Bridges of Madison County is the second-to-last number in the show and is a sweeping declaration of how, at the end of his life, the only thing that has never faded from memory is his and Francesca's love.
  • Hamilton: "Your Obedient Servant", where Alexander Hamilton and Aaron Burr finally agree to participate in the infamous duel that will kill Hamilton after Burr becomes furious with Hamilton for endorsing Thomas Jefferson in the election of 1800.
  • The stage musical of The Little Mermaid has the Distant Quartet "If Only".
  • My Fair Lady features "I've Grown Accustomed to her Face," in which Professor Higgins finally realizes that, while arguably not romantically, but platonically has come to care about Eliza, and will genuinely miss her.
  • "Freak Flag" from Shrek, where the fairy tale creatures declare their pride and plan their rebellion against Farquaad.
  • Subverted with "If I Can't Love Her," from Beauty and the Beast. Though it fits the thematic criteria, it takes place as the Act 1 finale, not near the end of the show, although there is a Triumphant Reprise during the finale ultimo. Played straight however with Belle's "A Change in Me".
  • "Gimme Gimme" from Thoroughly Modern Millie is the posterchild for this trope, Millie realizes she would rather marry for love than for money.
  • According to the creators, the Eleven O'Clock Number for Hairspray is "I Know Where I've Been," where Motormouth Maybelle sings a slow number about the fight for racial justice and equality. The film, however, moves this up to the Act 1 finale, so "Without Love" (where Link and Seaweed rescue Tracy and Penny respectively, and they sing about their love for one another) serves as the eleven o'clock number instead.
  • "Betrayed" from The Producers is not only a classic 11 o'clock number, but also a five-minute, one-man summary of the entire show to that point. Not to be confused with the other 11 o'clock mentioned in the song itself.
  • Dear Evan Hansen has "Words Fail," which serves as Evan's Liar Revealed moment and has him apologize for everything he's done and open up about his anxiety.
  • Der Glockner Von Notre Dame the Darker and Edgier adaptation of Disney's The Hunchback of Notre Dame features "Wie aus Stein/Made of Stone," for Quasimodo, as he declares his intention to shut himself off from the outside world, and "Einmal/Someday," for Esmerelda and Phoebus, in which they share a solemn prayer to God and their hope for a better world, as well as their belief that all of humanity is still ultimately good.
  • "A Boy Like That/I Have a Love," from West Side Story. After the death of Bernardo at Tony's hands, in retaliation over the death of Riff, Anita is horrified/furious to discover that Maria has made love with Tony, and shames her for falling in with a white boy, let alone her brother's killer. Maria then shoots back that she loves Tony and he loves her, and that Anita, who loved Bernardo, should understand that once love is in the picture nothing else matters.
    • "Somewhere," could also qualify, in which Tony and Maria envision a better world where the two gangs live in peace with one another.
  • From Notre-Dame de Paris "Dieu Que Le Monde Est Injuste," for Quasimodo, and "Vivre," for Esmerelda.
  • The London production of Charlie and the Chocolate Factory used the 1971 film's "Pure Imagination," while the Broadway production has "The View From Here" as its Eleven O'clock Number.
  • The Musical of Romy and Michele's High School Reunion has "We're Done", where Romy and Michele, having decided to Be Themselves at the reunion, deliver their "The Reason You Suck" Speech to Christie and her Girl Posse, followed by Sandy's solo number "I Don't Have You", after which he dances with Romy and Michele to an instrumental Triumphant Reprise of "It's A Giant Mystery".
  • Ride the Cyclone has "Be Safe, Be Good", in which Jane Doe rediscovers her identity.
  • The Frozen Broadway adaptation has "True Love," in which Anna reflects on the mistakes her idealistic belief in One True Love has brought about, and "Monster", a BSoD Song by Elsa juxtaposed with an Angry Mob Song by Hans and the townsfolk.
  • The stage adaptation of Waitress has "She Used to Be Mine", sung at Jenna's lowest point after her husband takes the money she was going to use for the pie contest and she belts her feelings out about her abusive situation and complicated self-identity.
  • Falsettos has "What Would I Do?" a duet between Marvin and the dying Whizzer.
  • The reprise of "Sandra Dee" is this in Grease, Sandy decides she has to change herself, if she ever wants to fit in.
  • Cirque du Soleil's Volta has "Battle of the Man", where Waz is initiated into the Freespirits in the Hall of Equals, followed by "Inside Me", to which Waz celebrates his newfound freedom with a contemporary dance routine.
  • During "Whispering" from Spring Awakening, nothing looks like it's going well. Moritz has died, Wendla has just discovered her pregnancy, and Melchior has been expelled. However, there are only about 15 minutes left in the show.
  • "Unruly Heart" from The Prom, the song Emma sings about her love and pride that goes viral.
  • "Spanish Rose," where Rosie trolls her fiancé's racist mother by making fun of Spicy Latina stereotypes, is the last song before the finale of Bye Bye Birdie, and it was written during tryouts specifically to give Chita Rivera an eleven o'clock number.
  • From Amazing Grace, "Testimony" in which John has a revelation, culminating in his renewal of faith in God, and vowing to end the slave trade in England to the Lord.
  • Young Frankenstein has Elizabeth's "Deep Love".
  • Evita has "Waltz for Eva and Che" as both discuss the pros and cons of their respective worlds, and their sides of the political spectrum of Argentina.
    • The Revival also borrows from the filmed adaptation's "You Must Love Me", as Eva realizes that Juan, despite both the political and social angles both had in their marriage, does genuinely love her, and that she loves him in return.
  • Spiderman Turn Off The Dark has "Boy Falls From the Sky", with Peter recognizing that no matter how he feels about, he will always be Spider-Man.
  • Hadestown has "Doubt Comes In," featuring the climax of Orpheus's quest to rescue Eurydice.
  • Percy Jackson and the Olympians has "The Last Day of Summer," in which Percy reflects on his quest and Luke reveals he has been working with Kronos.
  • Austen's Pride has "What If Lydia Ran Away?", in which Lydia elopes with Wickham, followed by Jane and Bingley's Final Love Duet Triumphant Reprise of "Isn't She Wonderful?" as "I Think You're Wonderful", and Darcy's solo song "Fine Eyes".
  • From Wonderland "Hero" from the pre-broadway version, and "Home (Reprise)" from the Broadway version, in which while Alice is saddened by Jack's sacrifice, she has her daughter back, which as her friends and the Queen assure her, that's all she ever needed.
  • From the Stage Adaptation of Beetlejuice is Lydia's "Home," where she finally reconciles with her feelings of grief and lack of belonging while stuck in the Netherworld.
  • The Light in the Piazza has "This is Love To Me", in which Fabrizzio affirms his feelings for Clara.
  • From Sweet Charity Charity's "I'm a Brass Band." Charity after hearing Oscar admit he loves her, has a drawn out fantasy sequence, celebrating that she finally has someone that loves her back.
  • The musical version of Tootsie has "Talk To Me Dorothy," where Michael debates what to do about the Dorothy persona he's kept up the entire musical.
  • Cabaret has "What Would You Do?", in which Fräulein Schneider, who has decided to end her engagement to the Jewish Herr Schulz as the rise of the Third Reich has begun to rapidly intensify in Berlin, sincerely asks Cliff and Sally, what would they do if they were in her situation?
  • Carousel Has "You'll Never Walk Alone." After Billy dies, Nettie comforts Julie, stating that as long as she continues to have hope, and rely on the people who love her, she will never be alone in life.
  • The Lion King for the stage to screen adaptation has Rafiki's "He Lives In You", the Triumphant Reprise of Mufasa's "They Live in You". Many people have compared it's power to that of "The Circle of Life" so much so the song served as the Parallel opening song in The Lion King II: Simba's Pride.
  • Starlight Express: "Starlight Sequence" in which Rusty finally realizes he is the "Starlight Express".
  • The Spongebob Musical: "Best Day Ever", in which Spongebob, Patrick and Sandy gets the entirety of Bikini Bottom to forget about the volcano and the aborted concert, and come together as a town and be grateful for what they do have: each other.
  • From The Secret Garden, has "How Could I Ever Know" in which Lily's ghost visits Archibald, and while she is regretful for having left him when she died, also assures him that she lives on in both him and their son Collin, as well as in her garden.
  • Elisabeth: "Boote in der Nacht" or "Boats in the Night", has Elisabeth admit that while she may still love Franz Joseph, too much has happened for them ever to reunite in the happy fairy-tale life they dreamed of as a young Emperor and Empress, and that sometimes, love isn't enough to sustain a marriage. The song is a somber ironic echo of the hopeful love duet "Nichts ist schwer" the two shared after their engagement is arranged.
    • Followed immediately with "Am Deck der sinkenden Welt"/"On the Deck of a Sinking World" in which Franz-Jospeh has a nightmare about the fall of the age of the monarchy, metaphorically staged as him and the other heads of state on a sinking ship while he feverishly clings to the Austrian Crest, as Luigi explains what became of many of their fellow Kings and Queens/Emperors and Empresses, many of which were their relatives. Likewise Franz-Joseph sees Der Tod for the first time, and the two argue over their love for Sisi, until Death explains to the Emperor that he has already arranged for Elisabeth's assassination, tossing Luigi the file that he will plunge into the Empress's heart, as Franz-Joseph screams in horror.
  • The Best Little Whore House In Texas: "Hard Candy Christmas", Miss Mona and her girls, the night before the House is closed for good, lovingly say goodbye to one another.
  • Jesus Christ Superstar has "Superstar" in which Judas questions Jesus's methods of delivering the word of God to the masses, and if Christ knew that His Heroic Sacrifice would still be discussed, debated, celebrated, but ultimately remembered thousands of years later.
    • Thematically, Jesus' number is actually "Gethsemane". It occurs far before the end of the show but it represents his decision to die and is his final major singing part: after this, Jesus barely sings at all, and most of his lines are resigned acceptance of his fate.
  • Chicago has "Razzle Dazzle", Billy assures a frightened Roxie that the judicial system, in the end, is all a bunch of showmanship, and he himself happens to be a great showman.
  • & Juliet features "Roar", as Juliet, tired of everyone telling her what to do, and how to feel, asserts her own authority in her life.
  • Promises, Promises, the title number, has Chuck, fed up with Sheldrake and the other higher ups have been using him for his apartment, and in turn Chuck himself has been passive in allowing many women's, in particular Fran's, feelings and hearts to be ruined, defiantly quits his job.
  • Oliver!: "As Long As He Needs Me" as Nancy reflects that while Bill is abusive, both physically and emotionally, and that she does realize he isn't a good man in the slightest, she still is loyal to him, because despite everything, she loves him.
    • The Reprise is even more powerful. Having grown to care for Oliver, Nancy makes the decision to defy Bill and help get the boy to his grandfather, fully knowing the very real danger she is putting herself in if Bill should ever find out.
  • Titanic: "Mr. Andrews Vision" has Mr. Andrews going over the blueprints of the ship, and realizing that one easy adjustment to the construction of the ship and how simple it could have been to prevent the sinking of the Titanic, eventually cursing his and all of mankind's hubris for wanting to build bigger and better achievements, while also envisioning the horrific fate of the passengers still on board the vessel as it slowly begins to plunge below the surface of the freezing sea.
  • From Andrew Lloyd Webber's Cinderella, "Cinderella's Soliloquy". After hearing the wedding chimes Cinderella falsely believes Sebastian and Adele's wedding has gone through, and she has missed her chance at confessing her true feelings for him. However, after a moment of despair, she resolves and finds the strength within her to finally leave Belleville, and start a new life, where people will appreciate her, and that someday she will forget Sebastian, and that she loved him.
  • Twisted: The Untold Story of a Royal Vizier: Ja'far, at an impasse in his life, contemplates his next move after stealing the lamp from Aladdin, is advised by other "villains" from Scheherazade's stories. After hearing that the backgrounds of each of their histories' weren't as black and white as he believed, he decides if it means saving the Magic Kingdom, he willingly will become the villain of his story as well.

    Western Animation 
  • "It Won't Be Long" in the Littlest Pet Shop (2012) season finale "Summertime Blues", sung as a farewell song for Blythe leaving over the summer.
  • The Powerpuff Girls: The episode "See Me, Feel Me, Gnomey" had "Freedom Beef," a song sung by Professor Utonium where he tells the girls that there is still evil in the world because the gnome has robbed the people of their free will and encourages them to fight for freedom.
  • Steven Universe: The episode "Mr. Greg" had "Both of You", a song sung by Steven to help Pearl and Greg make up.


Video Example(s):

Alternative Title(s): Eleven O Clock Number


Something's Missing

The second-to-last song in Arlo the Alligator Boy, as Arlo makes one last attempt to reach out to Ansel, who begins to struggle with whether he needs to keep hiding a secret of his own.

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Main / TheElevenOClockNumber

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