ONLY MURDERS IN THE BUILDING

Written by

Steve Martin & John Hoffman

Episode One: True Crime

Network Draft: April 17, 2020

OVER BLACK: WE HEAR SIRENS BLARING -- AND SMASH TO...

INT. NEW YORK PRE-WAR APARTMENT BUILDING (VARIOUS) - NIGHT

COPS SWARMING -- BLACK BOOTS POUND marble floors of a lobby --

and down long carpeted hallways -- where TENANTS PEEK OUT --
“DOORS CLOSED! STAY INSIDE!” -- DOORS SLAM SHUT -- GUNS ARE
DRAWN -- as COPS APPROACH TWO APARTMENTS, ON TWO FLOORS --
where a go-ahead is given -- AND TWO DOORS ARE KICKED OPEN!
IN THE STAIRWELL -- STEVE and MARTY (whom we’ll come to know)
frantically run down the stairs in terrified, escape-mode.

STEVE AND MARTY

Ohmygodohmygodohmygodohmygod!!!
STEVE
We have to get her! I’m not
leaving her here!

MARTY
Oh, and I would?!
STEVE
Of course you would!!
MARTY
OF COURSE I WOULD!!!
THEY RUSH OUT OF THE STAIRWELL INTO A HALLWAY WITH NO COPS --
and aim toward an apartment door at the end, slightly ajar.
A GLANCE OF CONCERN BETWEEN THEM, AS THEY RUN AND BURST...

IN THE APARTMENT -- where they are immediately struck frozen

by what they see -- a stylish young woman, MABEL (whom we’ll
come to know) IS ON THE FLOOR, COVERED IN BLOOD, HUNCHED OVER
THE BLOODIED DEAD BODY OF A YOUNG MAN IN A TIE-DYED HOODIE
(face unseen).
MABEL
(looking up to the guys)
It’s not what you think.

STEVE AND MARTY TAKE IN THIS SHOCK as the happy, bouncy intro
to Jan & Dean’s cover of the classic “Manhattan” kicks up.

JAN & DEAN (RECORDING)

We’ll have Manhattan! -- the Bronx
and Staten Island, too...

HARD CUT TO BLACK -- WHERE WORDS APPEAR: TWO MONTHS EARLIER

 2.

EXT. NEW YORK STREET (UPPER WEST SIDE) - MAGIC HOUR, TODAY

Jan & Dean sing about the isle of joy Manhattan can be -- as
STEVE walks home -- happily energized in hat and shades, amid
a diverse throng on a fall evening where the city has never
felt more alive or comfortingly communal. HEAR STEVE OVER:

STEVE (V.O.)
Here’s a thing I don’t get --
people who worry about living in a
big city because of all the crime.

He tips his hat to a woman passerby. She pushes her glasses

up, using her middle finger. Steve smiles and carries on.

STEVE (V.O.)
As any true-crime aficionado will
tell you, it’s the boondocks you
need to worry about.

He stops outside a bodega to pick up red and yellow peppers.

He sniffs them. Feels them. Smiles at the owner who mists
the produce and nods to a sign: “You Touch It, You Buy It.”

STEVE (V.O.)
I mean, let’s face it: nobody ever
discovered 19 bodies buried in the
backyard of a 27-story apartment
building. Because a backyard here
is a courtyard -- and there’s about
200 windows and 400 eyes with a
view of that courtyard.

He pays and, with his bag of peppers, he’s on his way again.

STEVE (V.O.)
Long way around to say, there’s
safety in numbers. Like the
numbers who live at... The Arcadia.

Steve rounds a corner and looks up ahead to THE ARCADIA --

gleaming in the last bit of sun -- a stunning 27-story pre-
war architectural landmark apartment building.

On the street, a YOUNG COUPLE approaches Steve.

GUY ON STREET
Hey, hold up, are you... ?
Steve grins and removes his sunglasses with a flourish.

STEVE
I’m... Brazzos.
 3.

GUY ON STREET
Oh, shit! Dude, I used to watch
that show with my dad -- it was his
favorite. What was that thing you
always said?

Steve leans in, preparing to deliver his signature line, and

WE QUICK CUT TO -- A MOMENT FROM “BRAZZOS” (CBS, CIRCA ‘92) --
WHERE A DARK-HAIRED STEVE LEANS INTROSPECTIVELY TO CAMERA.

STEVE AS “BRAZZOS”
This sends the investigation...
BACK ON THE STREET, TODAY

STEVE
... into a whole new direction.
GUY ON STREET
Yes! Damn -- this is so cool.
(then, sad...)
Dad has ALS now. He can’t really
talk or feed himself anymore.

STEVE
Oh, I’m sor--
GUY ON STREET
He’s in hospice, but he just won’t
let go. Honestly, it’d be better
for our whole family if he would.

Steve nods, waits... awkward.

STEVE
Would you like a picture?
GUY ON STREET
Oh, man -- thanks, that’s so nice!
The guy then hands Steve his phone and puts an arm around his
girl -- for Steve to take a picture of them. Mortifying.

GIRLFRIEND
Can you do it horizontal and get
the park behind us?

Steve takes the shot for them.

STEVE
You tell your dad Brazzos took that
picture.
 4.

GUY ON STREET
I will, but he won’t understand.
(so sad)
Not anymore. Thanks again, man!
Steve continues on his way, a little less happily, as WE NOW
HEAR MABEL OVER:

MABEL (V.O.)
New York can be a fuckin’ lot...

EXT. ANOTHER NEW YORK STREET - SAME

Dua Lipa’s “Don’t Start Now” kicks in as MABEL (mid-20’s)
walks home in a knit hat with a yellow pom-pom, Beats
headphones playing Dua in her ears and big white sunglasses --
to avoid all the eyes she’s catching right now.

MABEL (V.O.)
All the eyes on you, all the time.
GUY ON STREET #2
Hey baby, where you goin’ so tough?
Mabel ignores him.

MABEL (V.O.)
2000 women report assaults here
every year. So it’s a place that
makes you binge Dateline to find
out how not to end up on Dateline.
I have this recurring dream...

INT. MABEL’S APARTMENT (BEDROOM) - NIGHT (MABEL’S DREAM)

FROM ABOVE, we see Mabel, asleep on a mattress on the floor.

MABEL (V.O.)
I’m in bed. I wake up.
WE DROP DOWN AND PUSH IN -- and Mabel’s eyes snap open.

MABEL (V.O.)
And there’s a man standing over me.
IN REVERSE -- A MASKED MAN stands over her on the mattress.

MABEL (V.O.)
I have no idea what he wants, what
he’s gonna do to me -- but I know
it’s gonna be bad. So I Megan
Rapinoe him smack in the nuts...
 5.

THWAM! She hard-kicks up and the masked man doubles over and
falls to where Mabel has just lunged out of the way...

MABEL (V.O.)
... and grab my Apple pencil off my
iPad.

BACK ON THE STREET

Mabel continues her walk PAST AN APPLE STORE.

MABEL (V.O.)
I’m an Apple girl. Fuck that
Microsoft Android bullshit. Steve
Jobs would come back from the dead
and pig-fuck an Android. Anyway...

BACK TO MABEL’S BEDROOM -- AND HER DREAM

Mabel climbs atop the masked man, pinning his arms down with
her knees.

MABEL (V.O.)
Sometimes, when I can’t sleep... I
imagine that dude standing over me.

She stabs him in the eyes repeatedly with her Apple pencil.

MABEL (V.O.)
And I imagine taking him down to
the bone with that Apple pencil.

Finally, she rolls off and looks at the ceiling. WE RISE TO

SEE MABEL IS NOW BACK ALONE. She shuts her eyes, peacefully.

MABEL (V.O.)
And I’m out like a light. Works
every time.
BACK ON THE STREET

Mabel continues on her way.

MABEL (V.O.)
As I said, it’s a lot. Don’t be
here if you don’t like a lot.

A selection from “Annie” kicks in and WE HEAR MARTY OVER:

MARTY (V.O.)
N. Y. C. What is it about you?
 6.

EXT. ANOTHER NEW YORK STREET - SAME

MARTY, in a full-length “braided” coat that could have him

mistaken for a Bergamasco Sheepdog at Westminster, speeds to
catch the last seconds of a crosswalk light.

MARTY (V.O.)
Which, of course, is a line from a
big hit show about an orphan. And
don’t we all feel like orphans here
at times, struggling to find our
place? I saw this brilliant dance
piece on the world-wide-web
recently, set to Clair de Lune...

QUICK CUT TO:

FOOTAGE OF A DANCE PIECE TO “CLAIR DE LUNE” -- where a male

dancer bounces on a trampoline, trying to ascend a staircase.
MARTY (V.O.)
A simple premise -- of a man trying
to reach the top of a staircase,
and falling -- but always trying to
find some new way to bounce back up
again. And I thought... isn’t that
each of us every day in this big
burg? That’s life in New Yo--

HONK!!! -- BACK ON THE STREET -- Marty is now in the middle

of the crosswalk, having almost been hit by a Prius.

MARTY
(yelling to the driver)
Really? Do you not see this coat?!

As Marty finishes his narration WE RISE TO TAKE IN THE BLOCK.

MARTY (V.O.)
Still, one thing is certain here --
just when it’s all starting to feel
the same, that’s when you get hit
by something you never saw coming.

THE CITY SOUNDS ENVELOP -- and we see Marty enter the place
he calls home... The Arcadia.

INT. ARCADIA LOBBY - LATE DAY (MOMENTS LATER)

Steve enters, clearly in a hurry, and spots Marty -- that
guy... collecting a tall stack of packages while chatting up
the doorman, LESTER.
 7.

MARTY
... these are all research for new
shows I’m developing -- some “Off,”
some “Off-Off.” Stay out of the
theater if you want a life, Lester.

Steve pointedly slips past Marty and over to the elevators --

where one is just opening. Yes! He steps...

INT. ARCADIA ELEVATOR - LATE DAY (CONTINUOUS)

... and hits 18.

MARTY (O.S.)
Hold that, please!
Shit. Steve repeat-hits “Door Close” but Marty hops on.

MARTY (CONT’D)
Thanks, I have a thing that’s--
STEVE
--yeah, me too.
Marty manages, despite his boxes, to hit 15. As they wait,
Marty sees it’s Steve through an opening in his boxes.

MARTY
Oh. Hello.
(off Steve’s nod)
Filming something today?

STEVE
I’m sorry?
MARTY
All the makeup. I just assumed--
STEVE
I’m not wearing makeup.
MARTY
Oh. Okay.
(then, with a wink)
Me neither.

Steve hits “Door Close” but the doors are now stopped by the
arm of Mabel -- who steps in (Beats, shades on) and hits 17.
She slips to a back corner to scroll her phone and THEY RIDE
UP IN SILENCE. Steve checks the time on his phone: 6:58.

MARTY (CONT’D)
It’s not 7 yet, is it?
 8.

STEVE AND MABEL

No./Nope.
Seems they’re all in a rush -- as the elevator stops at 11.
11? Nobody hit 11. The doors open and on steps TIM (late
20’s, Asian, Wall Street vibe), holding a half-full plastic
garbage bag, while on a call he continues at full-voice.

TIM (ON PHONE)

Tim Lee, yeah... do you see
anything you got in today’s-- ?
(mistakenly hits Floor 12,
then hits 14)
Shoot-- sorry.
Steve and Marty want to strangle him now as the doors close.

TIM (ON PHONE) (CONT’D)

You do. Okay. I don’t know why
this keeps happening... well, this
one is very important to me...
Really? I can’t get it sooner?
Well, how early tomorrow... ?

Finally, Tim gets off on 14. Silence. Marty looks at Mabel.

MARTY
(he can hang “millenial”)
Do you like your Beats?

Mabel stares forward, unclear as to ignoring/not hearing.

MARTY (CONT’D)
I had a red pair. Loved ‘em. But
I left them on the train one d--

STEVE
DING!
Marty turns to Steve, who smiles, the doors are open on 15.

STEVE (CONT’D)
Man... if I ever lost my Beats?
Marty gives Steve a pinched look as he heads off, toting his
boxes. The doors close on Mabel and a newly-pleased Steve.

INT. STEVE’S APARTMENT HALLWAY - MOMENTS LATER

As the bluegrass twang of Yo-Yo Ma’s “Attaboy” kicks in (the
theme to Steve’s latest true-crime podcast obsession), Steve
trots down his hall, checking his phone to find it’s 7:00 and
a new episode of ALL IS NOT OK IN OKLAHOMA has just dropped!
 9.

INT. STEVE’S APARTMENT - LATE DAY (CONTINUOUS)

Steve hurries into his bachelor abode -- dominated by a

poster of himself in BRAZZOS -- overlooking the park on one
side and the Arcadia courtyard on the other.

He puts his peppers in the fridge (where we see more eggs and
peppers) then heads to a coffee table to unfold a map of
Chickasha, Oklahoma he’s marked up with clues and locations
of suspects. He positions himself on the couch, just-so,
sets his phone down and preps to hit play on his app...

INT. MARTY’S APARTMENT - SAME

Marty runs around his “old-school London meets Moulin Rouge”
place he shares with his bulldog, PETE -- setting up for
optimal immersion in that same podcast.

He links his laptop to Bose speakers by his baby grand, sits

in a velvet lounger and lights up a fake fireplace with one
remote and uses another for those speakers. Here we go...

INT. MABEL’S APARTMENT (MAIN/HALL/MASTER) - SAME

Mabel enters an almost empty eight-room expanse and passes
vast rooms till reaching her bedroom, with only a big
chandelier and her mattress on the floor. Mabel flops and
finds her new episode of “ALL IS NOT OK... “ and HITS PLAY...

INTERCUTTING NOW -- WE WATCH OUR THREE LONELY TENANTS GET

HAPPILY SWEPT AWAY TO OKLAHOMA... where farm noises mix with
the voice of a podcast narrator (a la Sarah Koenig) whom we
call “Tina Feynig.” Ha. No. We call her... CINDA CORNING.

CINDA CORNING (PODCAST V.O.)

When Ray Butler walked me to his
barn that day in Chickasha, I was
thinking more about his unorthodox
clothing choice for farm living...

IN STEVE’S IMAGINATION, lovely CINDA ambles to that barn with

a 60-ish farmer, Ray, wearing a light blue seersucker suit.

CINDA CORNING (PODCAST V.O.) (CONT’D)

... and wasn’t expecting to find
anything related to the
disappearance of his niece, Becky.

IN MABEL’S IMAGINATION, a 30-ish Ray wears a long black silk

robe and Doc Martens.
 10.

CINDA CORNING (PODCAST V.O.) (CONT’D)

But that all changed because of
what was going on in the back of
one of the cattle stalls....

IN MARTY’S IMAGINATION, a studly Ray is full-frontal naked.

CINDA CORNING (PODCAST V.O.) (CONT’D)

... where Ray’s old Lab, Bo, was
digging at something in the dirt.

INTERCUT MORE RAPIDLY BETWEEN OUR THREE, ALL PIQUED, leaning

forward -- what the fuck is Bo digging up?
CINDA CORNING (PODCAST V.O.) (CONT’D)
Once he got his dug-up prize, Bo
ran proudly to me with it dangling
in his mouth. It took a moment to
absorb what it was, then it became
all too clear... Bo had found--

THWONK THWONK THWONK!! Our three jolt -- WHAT THE FUCK!?!

IT’S THE BUILDING’S FIRE ALARM -- loud and persistent --
which also has CUT OFF ALL MAIN POWER IN THE BUILDING.

OUR INTERCUTTING CONTINUES... as they all spring up, unable

to hear their podcast now. In the dark, they grab up coats,
phones... Steve his map, Marty his laptop and Pete in his
doggie tote, Mabel her Beats, and ALL HEAD TO THEIR HALLS
(where security lights flash) AND ELEVATORS -- WHICH ARE OUT.

INT. VARIOUS STAIRWELL SECTIONS - CONTINUOUS

Down the steps our three go, in the dark, amid other tenants.
NOTE TO READER: This descent sequence will ultimately hold
many critical clues pertinent to an investigation to come.

Mabel passes a YOUNG MOTHER who yells down to her 10 year-old

son in Spanish -- she can’t find her other son .... Marty
spots a GREEK GUY shouting up to his brother to stay-put.
Steve is bumped by SOMEONE HEADING UP THE STAIRS WEARING A
TYE-DYED HOODIE. Up? Why is someone going up? Confusing,
but Steve continues down... all to that alarm.

INT. ARCADIA LOBBY - NIGHT (MOMENTS LATER)

Steve steps out of the stairwell and goes to the doorman,
Lester, on his cell and ushering tenants outside.
 11.

LESTER
Somebody smelled smoke -- we’re
finding out.

Steve checks his phone and his paused podcast. Gets an idea.

INT. BILLY SPRINGBORN’S - NIGHT (MOMENTS LATER)

In a bustling bistro across from the Arcadia, Steve steps in,
scans for a quieter booth -- and spots one free! Excellent.

AT STEVE’S BOOTH -- MOMENTS LATER

Steve has his Oklahoma map spread out. He presses his phone
to his ear, then looks up and JOLTS to find Marty. And Pete.

MARTY
Look who got the last booth.
(off Steve’s hesitation)
Listen, if I’ve ever offended you
during any of the many times you’ve
auditioned for me--

STEVE
I’ve never -- auditioned for you.
MARTY
(a staring beat)
Are you not Scott Bakula?
STEVE
I am not.
MARTY
Oh, you’re the other one! Got it.
(untangling his ear buds)
I won’t say a word. My favorite
podcast just dropped a new epis--

He sees Steve’s map of Chickasha and both realize together...

STEVE
What does Bo have in his mouth?!
MARTY
I DON’T KNOW!!

AT STEVE AND MARTY’S BOOTH -- MOMENTS LATER

Steve and Marty now sit over Marty’s laptop sharing Marty’s
earbuds, with balled-up napkins in their other ears, riveted
to what they’re hearing.
 12.

MABEL (O.S.)
Fine, fine -- let it sit empty. I
was gonna spend “Pretty Woman”
money here, so you know.

Marty looks up and sees Mabel -- being booted by a host from

a “Reserved” two-top she’s tried to nab in the packed place.

MABEL (CONT’D)
(giving Julia Roberts)
“Big mistake. Huge.” Yeah, you
didn’t think I’d have that
reference in my pocket, did you?

She spots Marty, waving her over. Okay... elevator guys...

MARTY
Sit! Half the building’s in here.
I’m Marty, by the by, Marty Pepper.

STEVE
Hi, I’m Steve.
MABEL
Hey... I’m Mabel.
Steve bursts out laughing.

STEVE
No, really, what’s your...
(off Mabel’s stare)
... greaaat “old-school” name!
MARTY
(to Mabel)
Would you mind -- just for 40
minutes -- not talking?

Mabel looks at the map and podcast graphic on his laptop.

MABEL
Get out.
(holds up her phone to
show, she’s one of them)
What the fuck is in Bo’s mouth?
STEVE AND MARTY
BECKY’S PANTIES!!!

Mabel goes jaw-dropped and plugs her Beats in Marty’s laptop.

 13.

AT STEVE, MARTY AND MABEL’S BOOTH - AN HOUR LATER

Done listening now -- this odd trio is deep in theorizing.

They all eat -- with Mabel notably chowing down, from her
plate and theirs.

STEVE
It is NOT Ray. Too obvious.
MABEL
Exactly.
MARTY
I’m just relieved SOMETHING of
Becky Butler showed up somewhere --
I almost forgot who went missing.

MABEL
They took too long with it.
STEVE
Her diary, “Becky had a smile that
lit up the room,” blah-blah...

MARTY
I love a good peeling of the onion
but let’s pace it up, people!

A good head-nod from all. Then Marty turns to Mabel...

MARTY (CONT’D)
To that point -- who are you, you
fascinating creature???
(off Mabel, taken aback)
I mean, we got our places thirty
years ago when The Arcadia was
affordable, but you -- do your
parents have a place there?

STEVE
Good god -- you don’t have to
answer that, Mabel. Unless you
want to. Because I’m also curious.

Mabel considers this then, with a squint, she eyes Steve.

MABEL
How do I know you?
MARTY
Steve was in this old TV show
called -- what was it, Bozos?
 14.

STEVE
Brazzos.

MABEL
Oh. Okay.

Steve waits for more. There is none.

MARTY
So... that’s Steve. Formerly
recognizable--

STEVE
Kinda’ beloved.
MARTY
Lifelong bachelor-- ?
STEVE
By choice.
MARTY
As for me... directing is my day
job, as I’m sure you know.

Mabels stares at him blankly, which Steve loves.

MARTY (CONT’D)
But my grandchildren... ? They’re
my passion. I only wish I had more
time to spend with them. That’s
really all we want, isn’t it? More
time with the people we love?

STEVE
(apologetic, to Mabel)
I literally pass him in the
elevator once a month, just so you
know.

MARTY
And those, my dear, are our onions.
Raw and un-peeled. And yours?
Care to un-peel for us?
STEVE
Really... ?
Mabel considers these two strangers, then:

MABEL
I bet we can get back in the
building now.
(MORE)
 15.

MABEL (CONT'D)
(going for the check)
Can I... ?

STEVE
Absolutely not. We’ve got it.
MARTY
Absolutely.
(then, to Steve)
Thanks so much.

Marty grabs up Pete and exits, leaving Steve with the check.

EXT. THE ARCADIA - NIGHT (MOMENTS LATER)

The trio exits the bistro and crosses the street to find COP
CARS AND AN AMBULANCE ON ACTIVE ALERT OUTSIDE THE ARCADIA.

STEVE
What the hell... ?
He leads them to Lester, the doorman.

LESTER
Found someone dead.
STEVE
What?!
LESTER
Sounds like they offed themselves.
14th floor. Can’t let anyone in.

Lester goes and our group eyes each other. Three true crime
obsessives -- and now there’s been A DEATH IN THEIR BUILDING?
ANGLE ON STEVE, LOOKING UP TO THE BUILDING... AND HEAR OVER:

STEVE (V.O.)
Since The Arcadia opened in 1903, a
total of 48 tenants and six non-
tenants have died in the building.
Most by natural causes -- three
have been deemed questionable.

IN RAPID CUTS, WE FLASH ON...

* A WOMAN, IN 1920’s GARB, HANGING FROM A CHANDELIER IN 8B.

* A MIDDLE-AGED MAN UNDER A TOPPLED REFRIGERATOR in 4D.

* A TEENAGED GIRL with foam dripping from her mouth in 14A.

 16.

BACK WITH OUR GROUP ON THE STREET

All are stunned, and wildly curious...

MABEL
Did he say 14th Floor?
MARTY
I think-- oh god, did they jump?
DID THEY LEAP TO THEIR DEATH?

STEVE
Hey... I know a way into the back
freight elevator. Follow me?

MABEL
Yeah. But we should take it up to
13, then take the stairs.
(off the guys’ “why?”)
They’ll have cops posted on 14.

Steve and Marty exchange an “ooh, she’s good” look as they

head off, trying to look casual and not sneaky at all.

INT. THE ARCADIA (STAIRWELL/HALL) - NIGHT (MOMENTS LATER)

Riding on big-time adrenaline, our three super-quietly open
the stairwell door on 14 and peek down the hall. A COP walks
by and they freeze! He’s headed away from them, though...

This gives our trio a moment to slip out to the hall to see
police activity around an apartment down the way. They tip-
toe toward it, and a detective standing with his back to them
-- mumbling about this “suicide.”
The detective steps away, revealing to our group... A VICTIM
ON THE FLOOR -- HIS FACE ANGLED OUT TOWARD THEM, CONTORTED --
HIS SKULL HAS BEEN BLOWN TO BITS BY AN AT-POINT FATAL GUNSHOT
EXPOSING BRAIN AND MATTER, SOAKING IN A POOL OF BLOOD.

THIS STOPS OUR TRIO COLD. What makes the shock worse is...
the victim is TIM, whom they all shared an elevator with only
an hour ago. Steve starts to hyperventilate, Marty looks
like he’s going to projectile -- so Mabel pulls them back.
They all RUN SILENTLY BACKWARDS AND PANICKED, back into...
THE STAIRWELL -- where they try to collect themselves.
STEVE/MARTY
(whispering, breathless)
Ohmygodohmygodohmygodohmygod...

MARTY
It’s that guy!?
 17.

STEVE
His head was-- I’ve seen “TV dead
bodies,” but that-- have you ever?

Marty is dry-heaving. Clearly, he hasn’t.

STEVE (CONT’D)
He shot himself?
MABEL
No. He didn’t.
The guys look at her -- a steely resolve on her face.

MABEL (CONT’D)
We saw him, what, an hour ago? Did
he seem like he was about to do
something like that?

The guys take that in -- no, he did not -- but before they
can respond THE STAIRWELL DOOR YANKS OPEN.

STEVE AND MARTY

AHH!!!
It’s DETECTIVE DONNIE WILLIAMS (straight out of THE WIRE).

DETECTIVE WILLIAMS
You associated with the deceased?
MARTY
No. We don’t, um--
They all vaguely shake their heads “no.”

STEVE
We’re neighbors. In the building.
We live in the building.

DETECTIVE WILLIAMS
Uh-huh. So you know the deceased?
MARTY
Just in passing.
STEVE
Not his passing.
MARTY
Yes, no, when we’d pass by him.
STEVE
Before he passed.
 18.

MARTY
That’s right. But are you sure
it’s... suicide? Even in passing,
he didn’t seem the type.

DETECTIVE WILLIAMS
(sizing them up further)
Right... but you don’t know him.

STEVE
Look... obviously, you’re just
starting your investigation,
looking at all the forensics--

DETECTIVE WILLIAMS
Oh, shit... What the fuck show are
you all hooked on?

The trio looks appropriately called out.

DETECTIVE WILLIAMS (CONT’D)

I swear, if I meet one more of you
true-crime nuts...

He steps into the stairwell, closing the door behind him.

DETECTIVE WILLIAMS (CONT’D)

Alright, listen up. You want true
crime? Way back, there was
complaints about a guy who’d gone
missing up on 121st St. This guy
had this big fat roommate who said
he hadn’t seen the missing guy for
six days. But fatty’s neighbor
knew, better than anybody else,
something was funky in that
apartment -- said he heard those
two fighting all the time. So the
cops start their search, begin
their work -- but this “neighbor”
decides he’s gonna check out that
apartment when the big man’s not
home. So he gets in there,
searches around, finds nothing --
till he looks around in the freezer
where, way in the back behind some
chicken wings, he pulls out a
baggie that’s got inside it... a
goddamn toe.

STEVE
Oh, no.
 19.

MARTY
Which toe? Pinkie toe?
DETECTIVE WILLIAMS
It was a middle goddamn toe. Hard
to figure out which one with those--

MARTY
--cause some look like thumbs.
DETECTIVE WILLIAMS
Right. So he pulls out this toe --
and sees there’s teeth marks on it.

MARTY
Oh, god!
STEVE
He was eating him??!
DETECTIVE WILLIAMS
Fat fuck was eating him.
MABEL
Fuccccccck.
DETECTIVE WILLIAMS
And while the neighbor’s processing
this fact, guess who comes home?

STEVE MARTY
Oh, no. What’s going to happen?
DETECTIVE WILLIAMS
Big man sees this guy over by his
freezer and they get into it, down
to the floor -- and the neighbor’s
hand goes in fatty’s mouth--

STEVE, MABEL AND MARTY

NO!!!
DETECTIVE WILLIAMS
Lucky for that neighbor he grabbed
a frying pan and he knocked that
fucker out till the cops showed up.

Our trio all exhales in huge relief.

DETECTIVE WILLIAMS (CONT’D)

You know what that nosy neighbor
learned that day? He learned to
let the pros handle this shit.
(MORE)
 20.

DETECTIVE WILLIAMS (CONT’D)

And believe it or not, he actually
became a cop himself, soon after.

STEVE
Do you know this guy?
Williams holds up his hand, revealing he’s missing a middle
finger. Steve, Marty and Mabel look stunned.

DETECTIVE WILLIAMS
That’s true crime. And THIS... was
a suicide. Residue powder on his
hand, evidence of financial stress
and a voice recording he left on
his phone saying he was outta here.
Which is where you all need to be.

STEVE
But, what if--
DETECTIVE WILLIAMS
It’s not. Trust me.
(opens the door, hollers)
Hey! Kindly escort these “true-
crime nuts” back outside.

Looking like they’re off to detention, the three get up.

EXT. THE ARCADIA - NIGHT (A LITTLE LATER)

Outside, they all watch the yellow tape come down as a body
bag holding Tim rolls out, followed by Detective Williams.

STEVE
Look, we were all caught up in the
podcast -- our minds were just on
the track of something being fishy.

MARTY
Yeah, that’s probably it.
MABEL
So, you’re just going to listen to
some nine-finger cop over what you
know in your gut?

Something in the emotion of how she asked this hits Steve.

STEVE
No... I’m not saying that. Because
if he’s wrong, that means there’s a
killer out there -- and they may be
living right here in our building.
 21.

Wow. Then Marty can’t help himself...

MARTY
Sorry, I’m gonna need another read
on that.

STEVE
What?

MARTY
Take it again for me -- but hit
“killer” a little harder.

STEVE
You’re a theater director, not a--
(steps back, actor reflex)
“If he’s wrong, that means there’s
a KILLER out there somewhere-- “

MARTY
No, sorry -- I want you to really
punch “somewhere.”

STEVE
... “a killer out there SOMEWHERE.”
Mmm, that feels false.

MARTY
Yeah, no, you’re right. Lemme
think...

MABEL
What’s happening right now?! There
may have been someone murdered and
we may have been the last people to
see him and you two are--
(then)
You know what -- forget it.
She exits. A long beat, then...

MARTY
You see how natural that was?
STEVE
Shut up.
Tom Waits’ “Little Drop of Poison” kicks in and PLAYS OVER...
 22.

INT. STEVE’S APARTMENT (KITCHEN) - NIGHT (LATER)

At his stove, Steve uses those peppers we saw him buy to make
an incredible omelette, displaying a chef’s familiarity with
this -- but he’s clearly in his head.

He looks out his window at the apartments overlooking the

courtyard. Is a killer out there? His omelette complete, he
routinely slides it... INTO A TRASH CAN. Steve stares at
that garbage... in the plastic bag. New thought.

INT. MARTY’S APARTMENT (BEDROOM) - NIGHT (SAME)

Marty talks on the phone and watches that Clair de Lune dance
piece on his laptop.

MARTY (ON PHONE)

Because I’m literally surrounded by
twelve scripts I need to read now.
(he’s not)
I said I’ll try, Will. You know
what I’m like when I’m deciding on
a new project, though...

He scrolls his “Favorites” on his laptop -- almost all are

“True Crime Podcast Fan-sites.” Marty gets a new thought.

INT. MABEL’S APARTMENT (BEDROOM) - NIGHT (SAME)

Mabel’s iPad is on her mattress, her screen saver displaying
her photos -- selfies, artsier shots, etc... as Mabel enters
from the bathroom and picks it up to resume what she was
watching, AN OLD EPISODE OF “BRAZZOS” on YouTube. Wherein...

STEVE AS “BRAZZOS” is in a crowded elevator, eyeing a suspect

at the front of the elevator who has his back to him.

CLOSE ON MABEL -- QUICK FLASH TO HER EARLIER ELEVATOR RIDE.

IN MABEL’S POV she sees Tim get on, blocked by Marty’s
boxes... SAVE FOR A HALF-FILLED GARBAGE BAG TIM IS HOLDING.

Mabel has a realization -- as ominous “cut-to-commercial

Brazzos music” plays on her iPad: “Dun, dun, dunnnnn...”

INT. ARCADIA ELEVATOR - NIGHT (MOMENTS LATER)

The “Basement” button is lit as Steve, in robe and slippers,
descends when -- DING! The doors open on 17 to reveal Mabel.

MABEL
The motherfuckin’ garbage bag.
 23.

Steve sparks, excited. Mabels steps on and THE DOORS CLOSE.

STEVE
Why would you get on an elevator
with that?! There’s a chute on
every floor. What was in there?

Mabel nods, as DING! -- the doors open on 15 -- and Marty.

MARTY
We all had the same thought?
(before they can reply)
We need to do our own podcast!
The doors close and Steve and Mabel eye each other. What?!

INT. ARCADIA (BASEMENT) - NIGHT (MOMENTS LATER)

DING! The three get off the elevator and carefully slip
below the eyes of the security cameras.

MARTY
I’m just saying, these podcasts can
turn into franchises -- and yes,
it’s early but, ooh! -- we should
be recording this moment right now.

He takes out his phone, hits record. IN MARTY’S PHONE POV --

they enter a gated pen with two garbage chutes holding all
the tenant waste, which they start sorting through -- yuck.

MARTY (CONT’D)
We should get Cinda Corning to
narrate. She’s right in Brooklyn.
We wanted to use her voice for an
Off-Broadway gig I did last year
but she was interviewing the
Taliban -- so I have a connection.

STEVE
Oh, yeah? Who do you know in the
Taliban?

MABEL
Harf.
(off their looks)
That’s how I laugh.

The guys nod, accepting this.

MARTY
(to Steve, working him)
Or you could narrate. The podcast.
 24.

STEVE
Oh, please.
MARTY
Actually, part of the big draw
would be you.

STEVE
Go on.
MABEL
Here it is... I found it.
The guys turn to her -- she’s holding a bag.

STEVE
Are you sure?
MABEL
There’s mail.
She hands Steve a piece of mail, which Steve reads.

STEVE
Tim Lee. That’s him.

INT. STEVE’S APARTMENT (LIVING ROOM) - NIGHT (LATER)

Steve and Mabel (in plastic gloves) sift through Tim’s

garbage bag like forensic scientists. Marty films them.

STEVE
You’re filming this because... ?
MARTY
I’m still deciding between podcast
or docu-series.
Mabel lets out a small whimper. She’s just unfolded a piece
of stationary with handwriting.

MABEL
(reading)
If there’s anyone left to care,
there’s nothing for me anymore...

MARTY
Oh, shit...
Marty lowers his phone, sits with them. Steve finds similar
balled-up stationary which he and Marty silently read over.
 25.

MABEL
I’m so lonely. I don’t want to be
this lonely anymore.

All three of them sit back -- relating in a way to those

feelings Tim expressed -- though none would admit that fact.

STEVE
That’s it. That’s our answer.
MARTY
So, we’re done. Back to Oklahoma.
Mabel and Steve look at Marty. Yeah. This is likely the end
of this burgeoning investigation and whatever it was they
were feeling about this newfound connection with each other.

INT. STEVE’S APARTMENT (KITCHEN) - THE NEXT MORNING

Steve is back to his routine -- making another red and yellow
pepper omelette while on the phone with his agent.

STEVE (ON PHONE)

I read the script, but my character
has no lines. Not one. And his
name is “GUY IN CORNER WITH DRINK.”
(pause, listens)
Wait, so they want someone who
“looks like Brazzos” -- and they
want me to audition for this?
Okay, whatever... fine, I’ll go.
He hangs up and dumps his perfect omelette in the trash.

INT. MARTY’S APARTMENT (LIVING ROOM) - MORNING

Looking particularly depressed, Marty is now wrapping those
boxes of his -- supposedly filled with all that “development
research” -- in little boy and girl wrapping paper.

INT. MABEL’S APARTMENT (BATHROOM) - MORNING

Mabel showers. She bends over, either stretching or crying --
hard to tell which, due to the water and her wet hair.

A MOMENT LATER, Mabel towels off -- and we take note of a

distinctive “Bird of Paradise” tattoo on her shoulder. She
opens her medicine cabinet -- filled with prescription
bottles, which she considers in a resigned way -- but then...
she hears her neighbor through a vent in the top of her wall.
 26.

WOMAN THROUGH VENT (O.S)

(to her cat, most likely)
Be good for Mommy while she’s out.
Mabel seems to have a thought. She rushes out to...

INT. MABEL’S APARTMENT (FOYER) - CONTINUOUS

Mabel runs, in her towel, to her front door and looks THROUGH
THE PEEPHOLE -- to see her neighbor, JAYNE (60, stout),
double-locking her door. Her mind whirling, Mabel thinks...

INT./EXT - BUS/HOLLAND TUNNEL AREA - MORNING (LATER)

A somber Marty is now on a bus, with his bag of wrapped gifts

-- headed out of the city, toward Jersey.

INT. STEVE’S APARTMENT HALLWAY - DAY

A disgruntled Steve heads to the elevator when... DING! --

the doors open and, again, there’s Mabel.

STEVE
We’ve got to stop meeting like
this.

MABEL
I need your help.
STEVE
I’ve... got an audition.
They trade places -- he gets in and she steps out.

STEVE (CONT’D)
Does this have to do with... ?
Mabel nods. Steve stops the elevator door with his arm.

STEVE (CONT’D)
Fuck them. I’m offer only.

EXT. A HOUSE IN NEW JERSEY - DAY

Marty pulls it together to give “happy” on the stoop of a
suburban home, holding those wrapped packages -- as the door
is opened by WILL (30’s, Marty’s son) to reveal Marty’s
excited fraternal twin 4 year-old grandkids, KATE AND LUKE.
 27.

MARTY
Grampy’s here!
(hugs them, eyes Will)
Hey, Will.

WILL
Hey, Dad.

INT. MABEL’S APARTMENT HALLWAY - DAY

Off the elevator, Mabel walks Steve to her apartment and
fills him in on her thinking as they go...

MABEL
So, like a month ago, I saw him --
Tim, the dead guy -- at that
apartment, Jayne’s...
(points down to Jayne’s)
... asking for a package that got
delivered to her by mistake.

STEVE
Makes sense. They’re on the A-
line. I get mis-delivered packages
on my C-line.

MABEL
Do you remember him on the elevator
saying “it happened again?”

STEVE
(light dawning, recalling)
And “this package was important.”

MABEL
I want to know what’s in it. And I
saw her leave a few minutes ago.

STEVE
Did you ask her for it?
MABEL
For a dead guy’s package? Plus,
she’s mean. I have a way in.

INT. MABEL’S APARTMENT (MAIN/HALL/BATHROOM) - CONTINUOUS

Mabel ushers Steve into her vast, almost empty space.

STEVE
What the-- ? Who ARE you?
 28.

MABEL
I’m re-modeling.
She takes him past rooms, INTO HER BATHROOM and THAT VENT.

MABEL (CONT’D)
There, see? I just need a boost.
Steve looks at that small vent up near the ceiling.

STEVE
Nooo... no-no. Have you forgotten?
I’m Brazzos.
OFF MABEL, wondering how that pertains... ?

INT. MARTY’S SON’S HOUSE (LIVING ROOM) - DAY

Marty play-wrestles with his grandkids as Will enters.

MARTY
Who did a stinky?
(off the kids, laughing)
I smell a stinky on you!

WILL
Dad, you wanted to talk?
MARTY
We’re in the middle of a stinky.
(then)
Oh, holy fuck, that is rancid...
Marty gets up and follows Will into another room.

INT. MABEL’S APARTMENT HALLWAY (AT JAYNE’S DOOR) - DAY

Steve shows Mabel his set of “jimmy keys” which he’s about to
use to try and unlock Jayne’s apartment door.

STEVE
Brazzos was the son of a locksmith,
so the crew gave me these “jimmy
keys” for a wrap gift. Season 5.

Mabel spots a “We Love You, From The Crew” key tag attached.
She smiles and keeps lookout as he starts work on the locks.

MABEL
I watched a few of those. Brazzos.
(off Steve’s surprise)
I like early 90’s stuff.
(MORE)
 29.

MABEL (CONT'D)
Sometimes you get to see Hammer
Pants. You were good. You’re a
good actor. Did you ever do any
other shows?

STEVE
I did a few pilots. They didn’t
move forward.
(then)
I don’t think I test well.
MABEL
(gently)
Mm. Yeah, I can see that.
STEVE
Thanks-- wait, what?
MABEL
How long have you lived here?
STEVE
(working the lock)
Twenty-eight years.

MABEL
But not always by yourself.
Steve considers, then nods “yes.”

MABEL (CONT’D)
You’ve been alone for 28 years?!
STEVE
Shh! I... like alone. Alone isn’t
so bad.

Mabel doesn’t get it. Steve works, thinks, then offers:

STEVE (CONT’D)
My father was also a Steve. I’m a
Junior. It was the most consistent
refrain of my childhood: how much I
was like him. Heavily perfumed
relatives would shout the words in
my face: “you’re his spitting
image!” And I really was. He was
left handed, I was left handed.
But we both used scissors with the
right hand. Both of us could pick
up about any instrument, play by
ear. But ask us to do basic
algebra, forget it. He went grey
at 48, completely white at 57.
(MORE)
 30.

STEVE (CONT’D)
(pointing at his head)
Like clockwork.

Mabel smiles.

STEVE (CONT’D)
People liked him, my father. They
meant it as a compliment, when they
told me I was like him.
(then)
He was awful to my mother. He was
awful in quiet, unseen ways that
people didn’t see. He lied, he
cheated, he made her feel... small.
He seemed to get pleasure out of it
-- making her feel silly, making
her feel unsure of herself. And I
think, at a certain point, I
figured... I use scissors like him,
and I play instruments like him --
odds are that in a serious
relationship...

A beat, then:

STEVE (CONT’D)
Alone isn’t so bad.
Mabel absorbs that. It’s opened her up, enough to divulge...

MABEL
It’s my uncle’s place.He asked me
to re-do it for him. You can see
how well that’s going. First time
I’ve been alone in like... ever? I
tend to make packs wherever I go.
Even when I was a kid -- I had my
“Hardy Boy” pack.

STEVE
That’s too old a reference for you.
MABEL
We were being “old-school” calling
ourselves that. But I did read
some of those books. That original
series is way-racist.

STEVE
That’s the beauty of my generation.
 31.

MABEL
Anyway, me and my Hardy Boys --
there were four of us, and only two
were actual boys, by the way -- we
got into solving these mysteries
around the-- complex we all lived
in. This was in Singapore.

A glance from Steve -- that last bit sounded like a cover.

STEVE
So, this stuff isn’t new to you.
MABEL
Well, those were made-up mysteries.
Or, at least, most of them were...

Another curious glance from Steve, still working that lock.

STEVE
And your Hardy Boys? Where are
they now?

MABEL
Things got weird... as things seem
to do when I play with others.
(then)
Maybe you’ve got it right. Maybe
it’s better to go it alone.

STEVE
We’re in.
He’s just unlocked Jayne’s apartment door.

MABEL
Yes! Good job, Brazzos.
She slips inside, excited, but Steve stops at the threshold.

STEVE
Whoa, hold on, this -- this is
actual breaking and entering.
Sorry, it just hit me.

They look at each other, then Steve impulsively steps inside.

He’s done it now, crossed a real line. Steve shuts the door.

INT. MARTY’S SON’S HOUSE (SUN ROOM) - DAY

Marty is in a back sun room looking out to his son’s backyard

with a swing set and jungle gym. Will appears stressed.
 32.

MARTY
Yard looks nice.
WILL
Thanks. The kids live out there.
MARTY
Sorry I missed Kit today.
WILL
(obviously lying)
Yeah, she... had a bunch of
errands.
(off Marty’s knowing nod)
So, how’s work?

MARTY
Good, good, very promising.
WILL
Yeah? That’s great. Did you --
pick your next project?

MARTY
Ahh... I thought I had something.
Then it went away.
(adjusting, this is tough)
So, I need to, um...

Will’s face drops.

MARTY (CONT’D)
You know, I never wanted to have
this be a regular thing, but I’m in
this bind, just strapped like I’ve--

WILL
Dad--
MARTY
Just a few grand. To help me get
through the next little window,
Will. I’m close on a few things--

WILL
That’s what you said the last time.
MARTY
This would be the last time. For
sure. And I’d only need half of--

WILL
Dad, I can’t give you a check --
not now. I’m sorry. The kids...
(MORE)
 33.

WILL (CONT'D)
and we need to put a new roof on
the place. I promised Kit I
wouldn’t-- I just can’t.

Will looks away. This kills him.

MARTY
(emotional)
Obviously, it’s mortifying, coming
to you like this -- I’m revolted at
myself -- but...
(desperate)
Will, I can’t get work.It’s been
years now, you know -- and I don’t
know what else to do. I really
just need a little help, son.

WILL
You have to sell the apartm--
MARTY
I can’t.
WILL
Dad--
MARTY
It’s all I’ve got. It’s who I am.
WILL
(after a beat)
Well, obviously, it makes me very
sad to hear that.

MARTY
I’m sorry -- Will, I’m sorry for so
many things, but I’m just in a
rough patch and I need--
WILL
Dad.
(then, resolute)
I can’t. Not again.
Marty nods. Gathers himself. Goes to a closet in the hall.

MARTY
Well, I certainly appreciate what
you’ve already done for me. And
don’t worry -- it’s just a rocky
moment, that’s all.

WILL
Dad--
 34.

MARTY
(looking for his coat)
You tell Kit I send love, okay?
And tell those stinkers Grampy
loves them.

WILL
C’mon, you’re staying for lunch.
MARTY
No, I should get back -- gotta dig
in, nose to the grindstone, right?
Can I have my coat, please?

Will looks at him. Fights the urge to bend. Will heads to

get the coat, leaving Marty to absorb this final gut-punch.

EXT. ARCADIA ROOFTOP DECK - DAY (LATER)

Mabel now holds that package, about a foot-square --
addressed to Tim Lee -- as she and Steve exit to the roof.

STEVE
I thought it would be more of a
“hunt.” Feels a bit lame it was
right on her foyer table.

Mabel looks more nervous now as she leads Steve toward a low
wall at the edge of the rooftop deck, with all of Manhattan
and the park around and below them. She pulls out a joint
and lights it, takes a hit -- offers to Steve -- he passes.

MABEL
You should open it. I can’t tell
if I want it to be nothing... or
something that means something.

Steve nods -- agreeing. Now he grabs the joint, takes a hit.

Then he carefully opens the package -- and pulls out filler.

ON MABEL -- who can’t see what’s in the box from where she
stands, but watches Steve’s face as he finds what’s inside.

MABEL (CONT’D)
What is it?
STEVE
What kind of guy kills himself an
hour after being desperate to get
his hands on this?

He reveals to Mabel a small box, holding AN ENGAGEMENT RING.

 35.

OFF MABEL’S EXPRESSION -- looking, with many conflicted

feelings, at that ring... we go BACK TO...

EXT. MARTY’S SON’S HOUSE IN JERSEY - DAY (LATER)

Marty steps out to the front stoop, dazed, the weight of the
world weighing on him. Then, he gets a text -- from Steve:
Where are you? We found something. This sends the
investigation... into a whole new direction.”

THE PLAINTIVE TONES OF “CLAIR DE LUNE” BEGIN -- as Marty

takes that news in. This is all he’s really got right now
and it brings huge relief -- so much so, that he falls... off
to the side of the stoop, completely over...

... WHERE HE BOUNCES BACK UP -- in a surreal moment that

harkens to that trampoline/dance video we saw in his opening
narration. As soon as he’s upright, Marty heads off that
stoop -- back to the city with a new kick in his step.

EXT. NEW YORK STREET - ANOTHER MORNING

“Clair de Lune” continues as Mabel crosses a busy crosswalk.
She stops midway and lifts her face to the sun -- then falls
backward, straight down to the pavement -- and IMMEDIATELY
BOUNCES BACK UP. She continues on, alive with new purpose.

INT. STEVE’S APARTMENT (KITCHEN) - DAY

Steve makes sunny-side-up eggs -- no more omelette now. He

lifts the pan from the stove and, instead of dumping the eggs
in the trash, he drops the whole pan down to the floor --
where it BOUNCES BACK UP INTO HIS HAND. New life. For all
of them. As Steve slides the eggs on a plate, HEAR OVER:

STEVE (V.O.)
Here’s a thing I don’t get...
people who worry about living in a
big city because of all the crime.

INT. MARTY’S APARTMENT (LIVING ROOM/FOYER) - ANOTHER NIGHT

Marty has set up a little podcast recording session -- and

Mabel and Marty are watching Steve deliver his own written
narration opening for their potential first podcast episode.

STEVE
As any true crime aficionado will
tell you, it’s the boondocks you
need to worry about.
 36.

He looks to Marty to see if he likes that take.

MARTY
I don’t know, it’s sounds so PBS’y.
Maybe Mabel should give it a try.

MABEL
Uh-- no, thank you.
STEVE
He’s already giving away my part.
He and Mabel gather their stuff and head to Marty’s door.

MARTY
Actually, I have a riff on a piece
to Clair de Lune that could be
fabulous.

STEVE
And now my part goes to him.
MABEL
So tomorrow we lay out a time-line?
STEVE
I’ve also got maps, full blueprints
of each floor of The Arcadia--

MABEL
Ooh, you fancy.
MARTY
Hey, did you read about that
“mysterious death” in the park last
night? You know, we could multi-
task a bit -- silo out a second
investigation, do a second podcast?

STEVE
No! We’ve got to focus. Only
murders... in the building.

MABEL
Seems fair.
MARTY
(testing that out)
Only murders in the building...
Mabel and Steve go. Marty closes his door, re-energized.
 37.

INT. ARCADIA ELEVATOR - NIGHT (MOMENTS LATER)

Steve and Mabel ride up until the doors open on Mabel’s

floor. A shared smile, then Mabel goes. The doors close.

INT. STEVE’S APARTMENT HALLWAY - NIGHT (MOMENTS LATER)

DING! Steve exits the elevator and heads to his apartment as
his neighbor, AZIZ (early 30’s), steps out of his own.

AZIZ
Hey, how’s it going?
STEVE
Good. All good.
Steve passes Aziz, who turns before heading down the hall.

AZIZ
Y’know... sometimes I can smell
that omelette you make.

STEVE
Oh -- sorry, I’ll turn on a fan
next time.

AZIZ
No, I like it. Reminds me of Lucy.
It was her favorite, right?

STEVE
Uh... I’m not--
AZIZ
Have you heard from her?
STEVE
Here and there.
AZIZ
Well, say hi next time for me.
Steve nods, heads inside his apartment.

INT. STEVE’S APARTMENT (KITCHEN) - NIGHT (CONTINUOUS)

Steve shakes off that exchange and steps to his kitchen. He
turns on a glass floor lamp, then looks out his tall windows
over the Arcadia courtyard. The courtyard he spoke of in his
opening narration that brings a sense of security -- with all
those eyes looking out for you from those other apartments.
 38.

Steve scans the activity in a few apartment windows:

* A couple lays on their bed, illuminated by only TV light,

and they start to wrestle and kick, playfully pre-coital.

* A pair of Greek brothers sit at a computer studying

something on the screen, arguing over what they’re seeing.

* A woman sits, facing her window and a makeup mirror,

obsessively plucking and shaping her eyebrows.

* A light goes on three floors up, across from Steve’s place,

catching his attention. Steve watches a shirtless YOUNG MAN
step into the room to find A TIE-DYED HOODIE that he puts on.

CLOSE ON STEVE, wondering where he’s seen that hoodie before.

QUICK FLASH TO THE STAIRWELL, THE NIGHT TIM DIED: as Steve
heads down the stairs with all others -- he clocks someone
suspiciously HEADING UP... WEARING THAT SAME TYE-DYED HOODIE.

BACK WITH STEVE, who watches more ominously now as the young
man steps to his window to look out, then down -- seeming to
look directly at Steve. Steve jolts -- and quickly turns off
that floor lamp, knocking it over in the process. From the
dark -- Steve peeks back out, eyeing him: “I’m onto you... “

INT. MABEL’S APARTMENT (BATHROOM/BEDROOM) - NIGHT (SAME)

Mabel showers, humming an odd little discordant tune.

WE MOVE INTO HER BEDROOM and OVER TO HER IPAD -- which is in

screen-saver mode and scrolling through her photos. The
first photo is a close shot of that “Bird of Paradise” tattoo
on Mabel’s shoulder, we saw earlier...

... and the second, is a wider shot... outside a beach-side

tattoo shop where Mabel is standing arm-in-arm with a
handsome man who’s got the same tattoo on his shoulder. WE
PUSH IN TO DISCOVER THIS MAN... IS TIM LEE.

CUT TO BLACK:

CREDITS ROLL TO DANIEL JOHNSTON’S “DON’T BE SCARED.”