No_Good_Deed_1x01_-_Open_House

NO GOOD DEED
"Open House"
Written by
Liz Feldman
Writer's Draft V.8 (1/24/24)

NO GOOD DEED Ep. 101 "Pilot" 1.
Full Blue Draft 1/11/2024
FADE IN:
1 EXT. RESIDENTIAL STREET - DAY (D1) 1
Ozzy Osbourne’s “Mama, I’m Coming Home” plays as the camera

soars past picture-perfect homes on this beautiful palm tree-
lined street in upscale Los Feliz, LA. A RICH WHITE GUY walks
his LABRADOODLE as a TRICKED-OUT ELECTRIC SUV parks behind a
MATTE BLACK MERCEDES.
We focus in on a stunning 1920’s SPANISH-STYLE HOME, as we

glide over the manicured lawn, barely noticing the FOR SALE
SIGN, and through an open, ornate wooden door.
2 INT. MORGAN HOUSE - FOYER/GREAT ROOM - CONTINUOUS 2
Inside, a CHARMING FOYER leads to a Pinterest-worthy GREAT

ROOM, replete with grand arches, stained glass windows, wood
beams and...
BOUGIE LADY
Oh wow. Look at these details.
BOUGIE MAN
The windows.
BOUGIE LADY
I’m blown away. Shit, Barry. I think
this is the original fireplace.
SELLING AGENT (O.C.)

Someone’s got a good eye.
We widen to reveal an OPEN HOUSE in progress. INTERESTED

BUYERS swarm and swoon, as a charming, if not slightly smarmy
Selling Agent, GREG, 30’s, seduces a vapid, bougie couple,
CYNTHIA and BARRY, 40’s, by the stunning stucco fireplace.
GREG
The owner restored it himself.
10 INT. UNKNOWN LOCATION - SAME 10
CLOSE ON an IPHONE, streaming this RING CAM footage.
REVERSE TO REVEAL PAUL, 50’s, a put-upon feelings- avoider

but in a fun way, and LYDIA, 50’s, a highly-strung homebody
who prefers plants over people, sitting on the edge of their
son’s bed, watching their own open house.
10 CONTINUED: 10
GREG (O.S.)
He’s a contractor, so he did all the
work on the house. Plumbing,
electrical, everything.
Paul points out Cynthia and Barry.
PAUL
They look like a smart couple.
Lydia looks, sizing them up.
LYDIA
Yeah, I’ve never been a fan of an
indoor scarf, but...
INT. MORGAN HOUSE - GREAT ROOM - CONTINUOUS - INTERCUT
Cynthia approaches the gorgeous ANTIQUE GRAND PIANO that

dominates the room.
CYNTHIA
Oooh! Now does this piano come with
the house?
GREG
(laughs)
Ugh, no. The wife played for the
Philharmonic. Icon. She’s gonna be
buried in that thing.
LYDIA
(unimpressed)
Eh.
BARRY
Did she die? Because you have to
disclose that.
GREG
I would if I could, but the thing is,
I can’t, because she’s very much
alive. And very motivated to sell.
Angle on LESLIE FISHER, 30’s, curious to a fault and SARAH,

30’s, her soulful wife and much needed moral compass.
Sarah looks around the room with wonder, breathing it in.
SARAH
It’s so strange to finally be inside.
CONTINUED:
LESLIE
How many times have we walked past
this house...
SARAH
So many times.
LESLIE
And somehow it’s even prettier inside.
And babe, did you see these arches? Do
we not have these exact arches on our
vision board?
SARAH
Oh, now you’re into the vision board.
LESLIE
I mean, we’ve been looking for two
years and the house we’ve been
obsessed with finally pops up? I mean,
it feels bashert.
SARAH
Yeah it does, it’s just... it’s such a
family house, don’t you think?
Leslie looks at her, a little stung.
LESLIE
Just because we don’t have kids
doesn’t mean we’re not a family.
SARAH
No, I know. I didn’t mean it like
that. I think it’s gorgeous... it’s
just... it’s a little darker than I
was expecting.
LESLIE
I think it’s just a time of day thing.
SARAH
No, I meant like, the vibe. There’s
kind of a dark vibe.
LESLIE
Is it possible you’re picking up on
your own vibe? ‘Cuz you’re kinda being
a Negative Nance.
Sarah rolls her eyes, as we find...
4 INT. MORGAN HOUSE - FOYER - SAME 4
A HANDSOME, CHISELED MAN wearing a baseball hat, sunglasses,

and a sad beard, fills in the SIGN-IN SHEET. Under “Name,” he
writes down John Smithe. Then, kicking himself, he crosses
out the E. Because that’s not how you spell Smith, and this
is not John. This is JD CAMPBELL, and he just quit his anti-
depressants because of the sexual side effects.
He traces his fingers along the BOARD AND BATTEN WALL,
admiring the workmanship. As he makes his way into the den,
we move to the kitchen...
5 INT. MORGAN HOUSE - KITCHEN - CONTINUOUS 5
DENNIS, Black, 30’s, indefatigably upbeat/crushingly anxious

makes his way around AN ENORMOUS ISLAND. He beams at his very-
pregnant/super-sardonic/high-achieving wife CARLA, Black.
DENNIS
I would’ve killed to live in a place
like this when I was a kid.
CARLA
I would kill a man dead right now if
he had a million dollars in his
pocket, ‘cause we’re gonna need it if
we’re trying to buy this place--
DENNIS
I know, I know. But leap and the net
will appear!
CARLA
(pointing up)
Oh my gosh, look at those wood beams.
They’re original to the house, babe,
you can tell.
DENNIS
No, you can tell, because you’re smart.
Because you’re my sexy little
architect.
CARLA
(re: belly)
I don’t feel so little or so sexy right
now.
DENNIS
Are you kidding me? Have you seen
yourself? Do you have any idea how
perfect you are?
5 CONTINUED: 5
CARLA
No, but you can take this opportunity
to tell me.
She smiles. He kisses her. It’s sweet and romantic.
Just then, Dennis’s enmeshed mother DENISE, who does not have
an inside voice, bounds in from the walk-in pantry.
DENISE
Do you two ever quit it? I mean you’re
making everyone uncomfortable.
DENNIS
We’re newlyweds, mom, we’re supposed
to be lovey dovey.
DENISE
You’re also supposed to invite your
mother to your wedding, but I suppose
that ‘supposed to’ didn’t count.
DENNIS
We didn’t have a wedding.
CARLA
I mean, it just seemed like a crazy
amount of money to spend on a party.
DENNIS
Who needs a party?
DENISE
You do. You love parties. You’ve been
dreaming about your wedding your
entire life. Remember? You wanted 98
Degrees to sing you down the aisle.
JD walks in from the next door room, passing them.
DENNIS CARLA
Who wouldn’t? You wanted what?
Denise notices JD. Her eyes go wide.
DENISE
(thinks she’s whispering)
Oh, I recognize him.
DENNIS
(actually whispering)
Mom, don’t say anything.
5 CONTINUED: (2) 5
But Denise is already sidling up to JD by the dishwasher.
DENISE
I’m sorry...
JD
(confused)
Sorry, I was just...
DENISE
Oh, no, no, you’re fine. But I
couldn’t help but notice you look like
that actor from that soap opera,
Rising Tides.
JD
Hey, how you doing?
DENISE
Are you the shady handyman?
JD
Yeah, I played Devon, yes.
DENISE
Devon, yes! Devon, are you trying to
buy this house?
JD
Oh, no. Just browsing. Love the old
Hollywood Spanish style.
DENISE
Oooh, I love Rising Tides. That’s my
favorite story.
JD can’t help but smile. It’s always nice to meet a fan.
JD
I appreciate that. It means a lot,
thank you--
DENISE
Until they killed you off.
(to Dennis)
Baby, they put a hammer to his head.
He cheated on his stepdaughter. And
you know what? He didn’t deserve her.
DENNIS
On your stepdaughter?
5 CONTINUED: (3) 5
JD
(covering)
Eh, it’s for the best. Story wise.
I’ve moved on.
DENISE
What are you on now?
A beat. JD, who’s never been good at improv, stammers.
JD
Now? Currently? Oh, I’m on a kind of
self-imposed hiatus, but... there is
something I’m looking at... I probably
shouldn’t talk about it, it’s kind of
a super secret project.
DENNIS DENISE
Oooh! Ahh!
JD
It was good talking to you...
DENISE
Thank you.
JD
Of course. You take care now.
DENISE
You too, Devon.
As JD makes his escape...

6 INT. MORGAN HOUSE - FOYER - SAME 6
Leslie and Sarah arrive at the upstairs landing.
SARAH
Look at that light, oh my god.
LESLIE
Gorgeous. What’s this room?
Leslie spots a closed door. She tries to open it, but--
INT. UNKNOWN LOCATION - SAME
It’s locked! Back with Lydia and Paul, where the doorknob
RATTLES... because they’re inside that locked bedroom.
Paul and Lydia dart their eyes to the door.

CONTINUED:
MAIN TITLES: NO GOOD DEED

7 INT. MORGAN HOUSE - FOYER - MOMENTS LATER 7
MARGO STARLING, perfectly coiffed, dripping in Gucci,

definitely hiding something, breezes through the front door
and past the sign-in sheet. She slips off her sunglasses and
glides into the next room.
8 INT. MORGAN HOUSE - GREAT ROOM - CONTINUOUS 8
Margo takes in the decor, regarding the original chandelier

with what looks like distaste. She sidles up to the ANTIQUE
GRAND PIANO and drags her fingers across the ivories,
striking a few keys, most of them flat.
Greg enters and recognizes her immediately.
GREG
Well, if it isn’t everyone’s favorite
Lookie Louise...
MARGO
Hello Craig.
GREG
It’s Greg.
MARGO
I know. I thought we were making up
names for each other. Piano’s out of
tune.
GREG
I'll let the seller know.
MARGO
You do that.
MATCH CUT TO:
11 INT. MORGAN HOUSE - JACOB’S BEDROOM - MOMENTS LATER 11
Paul and Lydia continue spying on prospective buyers from

inside their teenage son’s bedroom. Paul eats from a bowl of
popcorn in his lap, enthralled. Lydia stuffs a handful in her
mouth and scoffs at Margo.
11 CONTINUED: 11
LYDIA
Look at Margo. The sunglasses. The
purse. She looks like an AI generated
bitch.
PAUL
But do you like Margo? I can’t tell.
LYDIA
I can tell she’s thrilled to see
inside the house and judge us. Her
nipples are probably so hard.
Paul looks closely at the phone, disappointed.
PAUL
No, they’re not. But who cares what
Margo thinks anyway? Fuck Margo.
LYDIA
Yeah, fuck Margo.
PAUL
Unless she wants to pay cash. Then I’m
happy to bend over, take that cash
right in the ass.
LYDIA
I know you’re kidding--
PAUL
I’m half-kidding--
LYDIA
But I will burn this place to the
ground before we sell to someone like
her. She does not deserve this house.
Lydia gets choked up.
PAUL
Oh, okay... we’re getting emotional.
LYDIA
Because it’s emotional, Paul, okay?
All my memories are here.
He gets up. Hugs her. An all too familiar dynamic for Paul.
PAUL
I know. I know. But hey, I grew up
here.
11 CONTINUED: (2) 11
LYDIA
Since you were eight--
PAUL
Yeah, but technically more of my
memories are here. And a lot of them
suck.
LYDIA
Yes. I know, but it still feels like
lobbing off an appendage.
PAUL
Well, we have to amputate. We’ve
waited long enough.
Lydia, wistful, looks out the window to the backyard.
LYDIA
What about my garden? The mandarin
tree the kids and I planted... it’s
persnickety if it’s not pruned--
PAUL
So, you’ll leave instructions for the
next family. Let them deal with the
fucking water bill.
LYDIA
(hardens)
Why is everything about money with
you?
PAUL
Because we don’t have any, Lydia! The
second mortgage fucked us. And I’m
trying, but I can only do so much.
LYDIA
I’m sorry. I really am. I’m sorry it’s
all on you. I would work if I could.
She looks down at her hands. They’re visibly shaking.
LYDIA (CONT’D)
(re: her hands)
But, I can’t.
Paul sighs, then takes her hands in his.
PAUL
I know. I know. I know you can’t.
(then, gently)
(MORE)
PAUL (CONT’D)
If we get a bidding war going, then we
can build our own place in Cambria...
a nice little ranch with nice little
horses.
LYDIA
(softening)
Like how little?
PAUL
Microscopic. Undetectable to the human
eye.
LYDIA
Okay. Well, that would be adorable.
PAUL
And maybe with the sea air in your
hair, the change of scenery, you’ll be
able to play again. I miss hearing you
play.
Lydia strokes his cheek lovingly. She misses it too.
LYDIA
Okay, but can we make sure we find the
right buyers? Who get how special this
house is. How special you’ve made it.
PAUL
Yeah, of course.
Paul checks the RING CAM on his phone, as Greg speaks to some
prospective buyers.
PAUL (CONT’D)
Oh, look. They look like nice people.
LYDIA
Well, Ted Bundy looked nice. But maybe
we go down and meet them.
Lydia stands. Paul keeps watching as A TOUGH LOOKING MAN who

has seen some shit crosses into frame. Paul’s face goes pale.
Like he sees a ghost.
Lydia crosses to the door.
Paul, deeply unsettled, watches as the man LOOKS DIRECTLY

into the RING CAM. Like he’s sending a message. Paul,
terrified, blinks hard.
LYDIA (CONT’D)
Come on, let’s go downstairs--
Paul snaps his head up to see Lydia turning the door knob.
PAUL
No! Don’t go out there!
12 INT. MORGAN HOUSE - UPSTAIRS LANDING – SAME 12
Leslie notices the doorknob move and... are those people

she’s hearing? Sarah picks up on her curious expression.
SARAH
What?
LESLIE
Nothing.
Sarah heads down the stairs, as Leslie looks back at the

locked room... slightly weirded out, her curiosity piqued.
15 EXT. MORGAN HOUSE – FRONT LAWN/SIDEWALK - A LITTLE LATER 15
Leslie and Sarah on the sidewalk, admiring the house. Leslie

whips out her phone, excited.
LESLIE
Okay, I’m gonna tell the realtor we
want to make an offer.
SARAH
(guides her phone down)
Can we please talk about it first? I
need to process before we spend our
entire nest egg...
LESLIE
Totally-- but what else are we
supposed to spend that money on? We’re
not doing any more IVF, right? I mean
that alone frees up like a gajillion
dollars.
Sarah nods, a tinge of regret in her eyes.
SARAH
Right.
LESLIE
Listen. I think we could totally
change the “vibe” in there.
15 CONTINUED: 15
SARAH
But do we even know if this street is
safe, like at night?
Leslie looks around the incredibly idyllic street.
LESLIE SARAH (CONT’D)

This street? This street? It’s questionable...
LESLIE (CONT’D)
You think this looks like a dangerous
spot?
SARAH
No, the vibes change immediately, sun
goes down, different street.
LESLIE
Okay fine, I’ll come back. I’ll drive
around, I’ll do my loops. I’ll do my
night loops.
SARAH
Remember those break-ins that happened
a couple years ago? Like someone got
shot?
LESLIE
I don’t remember. Because I don’t
obsessively check the Citizen App.
SARAH
I don’t obsessively check it.
LESLIE
Okay, I’m just saying... it’s LA,
babe. We don’t need to know every time
some nutter-butter steals a catalytic
converter.
SARAH
I think if it was your catalytic
converter, you’d want to know.
LESLIE SARAH (CONT’D)

I would definitely-- I don’t Exactly--
like it when anyone touches
my catalytic converter.
Except you.
They giggle. As they walk off...

SARAH (CONT’D)
Is this foreplay?
LESLIE
I got a lot more where that came from.
16 INT. MORGAN HOUSE – GREAT ROOM – DUSK (N1) 16
Lydia finishes tidying up after the open house. She pulls out
a stack of FRAMED PHOTOS hidden away in a credenza.
Carefully, she places each frame back on the mantle:
- Lydia and Paul with their EIGHT-YEAR-OLD DAUGHTER and NINE-

YEAR-OLD SON, smiling in front of the mantle at Christmas.
- Paul carrying Lydia over the threshold of this house on

their wedding day in 2001.
- The KIDS, EIGHT and NINE, flanking a joyful Lydia on the

PIANO BENCH, as she plays.
As Lydia lingers on the photo, we hear ECHOES of her CHILDREN

LAUGHING. She turns to the piano and we see JACOB, EIGHT, and
EMILY, NINE, chasing each other playfully, as Jacob calls out
to Lydia: “Mommy, help me!”
Lydia smiles, then snaps out of her memory, and the children
fade away.
She takes out her phone and makes a call. It rings, but
there’s no answer.
TEENAGE BOY (V.O.)

Yo, it’s Jacob. Leave a message. Or
text me like a normal person.
A BEEP, then Lydia takes a seat on the sofa...
LYDIA
Hi Honey Bun, just wanted to hear your
voice...
18 INT. MORGAN HOUSE - GARAGE - THE NEXT DAY (D2) 18
CLOSE on a large wooden plank being fed to a table saw.
REVERSE to reveal Paul working in his cluttered garage.
MAN (O.S.)
Hey, careful with that. Wouldn’t want
you to hurt yourself.
18 CONTINUED: 18
Paul looks up to find the TOUGH LOOKING MAN who has seen some
shit. This is MIKEY, 60’s. Paul shifts uncomfortably.
PAUL
(covering)
Hey. Hi. What’re you uh... what’re you
doing here?
MIKEY
That’s my warm reception? After all
this time? I thought you might be
happy to see me.
PAUL
(lying)
No, I am. Just a little surprised,
that’s all. I didn’t realize you
were... out.
(then)
You want a water or something?
Paul moves to a cooler, takes out a can, hands it to him.
PAUL (CONT’D)
That’s got a hint of hibiscus.
MIKEY
The fuck is hibiscus?
PAUL
I don’t know, it’s a fruit...
MIKEY
Why is there a flower on the label?
PAUL
I don’t know. ‘Cause it’s an
essence...
MIKEY
What the fuck is an essence?
PAUL
I don’t know!
(then, trying)
So, how you been? How was prison? Make
any nice friends?
MIKEY
Nah, most of the other white guys were
skinheads. So I spent the bulk of my
time in my cell. Which you would’ve
known, if you ever came to visit me.
PAUL
Yeah, well, I’ve been a little busy.
MIKEY
For three years?
PAUL
Has it been three years? Wow, you look
up and thirty six months just flies--
MIKEY
Listen, I need eighty thousand
dollars.
PAUL
(taken aback)
Oh. Well... that’s a lot of money.
Seems like a good time to find a job
then.
MIKEY
I need it by tomorrow.
PAUL
(laughs, then)
Yeah, me too.
MIKEY
(steps closer)
Hey. You think it’s easy getting a job
straight out of the joint? You think
people are hiring ex-cons all willy
nilly?
PAUL
No, no, maybe not willy nilly.
Mikey steps even closer and looks Paul dead in the eyes.
MIKEY
Listen, asshole. I helped you when you
needed it most. And I paid the fucking
price.
PAUL
Alright, alright-- you went to prison
for drugs-- that’s your problem, not
mine.
MIKEY
Listen man. I’m asking you to help me
here.
PAUL
And I’m telling you I don’t have it.
I’m broke.
MIKEY
Bullshit! I saw the fucking house!
PAUL
I fixed it up so we could sell it.
That’s all money I owe now!
MIKEY
(threatening)
It’d be a shame if people found out
what really happened in that house.
PAUL
You think you can scare me, Mikey?
Suddenly, Mikey GRABS Paul’s hand and DRAGS HIS PINKY through
the table saw. Paul SCREAMS. Blood squirts everywhere.
PAUL (CONT’D)
(wails)
Mother fucker!!
MIKEY
Eighty grand. Tomorrow. Or I tell the
cops everything.
Paul wraps us his finger, still wailing.

19 INT. MORGAN HOUSE - FOYER - MOMENTS LATER 19
Paul, dripping sweat, enters holding up his INJURED HAND,

wrapped in a blood-soaked rag. Writhing in silent pain, he
gently shuts the door and beelines into the bathroom.
20 INT. MORGAN HOUSE - BATHROOM - CONTINUOUS 20
He catches his pale, sweaty face in the mirror, then opens

the medicine cabinet, grabbing gauze with his healthy hand.
Paul turns on the tap, unwraps the rag, exposing his BLOODY,
MANGLED PINKY. He shoves his hand under the water, and lets
out a MUFFLED SCREAM. He stares, bleary-eyed, at the BLOODY
WATER CIRCLING THE DRAIN...
21 INT. PIPES - SAME 21
The camera DIVES DOWN THE DRAIN, swimming through the bends
and curves of the plumbing in the house.
21 CONTINUED: 21
As we flow through this maze of piping, we rush past a DARK

BLURRY OBJECT stuck in an elbow joint of one the pipes.
Before the blur can come into focus, the camera and the water
keep moving... streaming straight out of the sewer and onto
the STREET, as a tricked out ELECTRIC SUV crawls by.
22 INT. ELECTRIC SUV/EXT. MORGAN HOUSE – SAME 22
Dennis slowly drives Denise past the Morgan house.
DENISE
I gotta say, this is a beautiful
street.
DENNIS
Right! Now that’s the kind of house
you want to raise a kid in.
DENISE
Well, we didn’t have houses like that
in Bed Stuy. And even if we did, we
couldn’t have afforded half of it.
Even before your daddy died.
DENNIS
I know, Mama. I know. It didn’t matter
where we lived. You were my home.
DENISE
And now I’m lucky if I see you twice a
year.
DENNIS
Oh, come on now.
DENISE
You sure you’re not biting off more
than you can chew with this place?
DENNIS
I can chew it. I’m chewing it. I got
money saved up from my last novel. And
Carla’s killing it. She’s working her
ass off.
DENISE
Yeah, until the baby comes and she has
to stay home.
DENNIS
Mom, she’s not gonna stay home. It’s
not 1964. Did Beyoncé stay home?
22 CONTINUED: 22
DENISE
You got Jay-Z money?
DENNIS
No, not yet, but we’ll get a nanny or
something. We’ll figure it out.
DENISE
Hmph. That’s not gonna be cheap
either. And, God forbid, something
happens, like you need a new roof.
That’s fifty thousand dollars right
there.
DENNIS
Fifty thousand for a roof? That sounds
high.
DENISE
Eh, that’s right. How many houses have
you had? What? Oh-- none. Anyway, if
you need me, I’m always here.
DENNIS
Thank you.
DENISE
And by here, I mean 3000 miles away.
Off Dennis, wheels spinning, as he drives away...
LENNY (PRE-LAP)
You’re under water, bro.
23 INT. MODERN MCMANSION - KITCHEN - SAME 23
JD SLAMS the door of his HIGH-TECH DISHWASHER, but it won’t

shut. His enormous modern house makes him look small and
insignificant, as he rants on the phone to his Business
Manager, LENNY.
JD
I know, Lenny, I know.
LENNY (V.O.)
You shouldn’t have bought the most
expensive house on the street.
JD
I just thought I’d be working by now.
I won three Soap Opera Digest Awards.
That’s only been done by eight other
actors in the history of the medium.
(MORE)
23 CONTINUED: 23
JD (CONT’D)
I mean, there’s one guy in the
telenovelas, he won 22, but they have
a totally different voting system with
Telemundo.
LENNY (V.O.)
You’re a great actor, JD. No one’s
debating that. Though I would stay off
Reddit.
JD
What’re they saying about me on
Reddit? Am I a sub-Reddit? Be honest.
LENNY (V.O.)
Look, I’m saying maybe you could
afford the house and the cars and the
boat back in Oklahoma, but not here--
JD
I never even wanted the boat, alright?
My wife wanted the boat. Talk to her.
LENNY (V.O.)
Maybe you should talk to her.
JD
And say what? Gifts are her love
language.
(choking up)
I don’t know, I can’t... I can’t lose
her, Lenny. I can’t lose one more
thing.
JD goes to the fridge and but he can’t get the door open.
JD (CONT’D)
Stupid fucking house! Fucking Swedish
refrigerator!
LENNY (V.O.)
I told you not to buy new
construction. Remember I said more
like ‘no construction’?
JD
I know, Lenny, I was working fifteen
hour days on Rising Tides -- as you
know -- so I thought the least I could
do was buy my wife the house that she
wanted.
LENNY (V.O.)
Well, it might be time to get a house
you can afford.
JD walks off. A beat, then the fridge door opens on its own.
He turns.
JD
(to fridge)
Fuck you!
LENNY (V.O.)
You talking to me?
JD
No.
LENNY (V.O.)
You still taking your meds?
JD
No. But I think you’re right. Maybe
it’s time for a change.
With a glint in his eye, he looks out the window and directly
across the street... at the Morgan House.
24 INT. MORGAN HOUSE – GREAT ROOM – DAY 24
Ping. Ping. Ping. A professional tuner, JERRY, bangs on the

FLAT KEYS, adjusting the strings inside the open piano as
Lydia looks on, lost in thought.
JERRY
How long’s it been since she’s been
played?
LYDIA
I don’t know. A few years.
JERRY
Years? Lydia Morgan. That’s a shame.
For everyone.
(re: piano)
This thing belongs in a museum. You
know what year she is?
LYDIA
No, it was my grandmother’s. She
taught me, actually. On this piano.
She was the real virtuoso.
24 CONTINUED: 24
JERRY
Please. Don’t pretend like you’re not
hot shit. You played with Dudamel.
LYDIA
Well, not to name drop but she played
for Hitler.
(off his look)
Not because she wanted to... Because
she had to... To stay alive. They
weren’t friends. I... don’t revere
him.
JERRY
You gotta do what you gotta do to
survive.
LYDIA
You do.
A beat, as Jerry finishes up and closes the lid.
JERRY
The Philharmonic hasn’t been the same
without you. You know they have Carol
Carmichael doing your solos?
LYDIA
I know. She’s fine, you know, a little
robotic. Kind of a hack.
JERRY
I thought that might rile you.
Jerry plays a few scales. All in key.
LYDIA
Oh, it sounds good.
JERRY
Yeah.
LYDIA
Thanks, Jerry.
He stands and offers her the bench.
JERRY
Now you have no excuse not to play.
LYDIA
(hesitates, then)
Okay. Alright.
We follow Lydia as she reluctantly sits.
CLOSE ON her EYES gazing at the keys, as we hear the opening

piano solo from MOZART’S “Fantasia No.3 in D Minor.” It’s
beautiful and haunting and her eyes light up as the music
swells, when...
JERRY (O.C.)
Lydia? You okay?
The MUSIC CUTS OUT as Lydia snaps back to reality. She looks
down at her hands, shaking in her lap. She sits there for a
beat, then looks at Jerry, fighting back tears.
LYDIA
Yeah.
(to herself)
Okay. Just keep trying.
25 INT. UPSCALE HOTEL ROOM - SAME 25
CLOSE ON Margo, looking at the Morgan House on ZILLOW, naked

under the sheets, post-coital. A BEAUTIFUL, ALOOF WOMAN next
to her, scrolling on her phone. This is GWEN, 40’s.
MARGO
I mean, Los Feliz is one of the best
school districts in LA, and it’s
walkable to the farmer’s market...
GWEN
How much work does it need?
MARGO
Not much. If we ripped out this shitty
tree and put in a pool, we’d make a
killing.
GWEN
(side-eyeing her)
Oh would we? Don’t know how my
partners would feel about that.
MARGO
Look, you’re always saying you’re
looking for new investors.
(reaches under the sheets)
And I’m just trying to put my money
where my mouth’s been.
GWEN
(flirty)
You’re such a slut.
25 CONTINUED: 25
MARGO
I feel so seen.
They kiss. Gwen grabs Margo’s phone to look at the listing.
GWEN
It could be interesting. I’ll bring it
to my partners.
MARGO
You do that.
(snuggling up)
And maybe if this goes well, maybe we
can be partners...
GWEN
Really? What kind of partners?
MARGO
(vulnerable)
I don’t know... maybe all the kinds?
GWEN
Mmm, you’re cute...
(re: house)
Not sure the margins make sense.
MARGO
What if I could get it for under
asking?
GWEN
How would you do that?
Margo gives a cheeky smirk.

26 INT. MORGAN HOUSE - KITCHEN/BAR - LATER 26
Paul pours himself a SCOTCH. Lydia crosses behind him tying

an apron.
LYDIA
Don’t drink your dinner tonight,
honey. I’m making marsala.
Lydia chops mushrooms as Paul approaches.
PAUL
Haven’t seen that apron since the
banana bread days.
26 CONTINUED: 26
LYDIA
(trying for upbeat)
I thought a home cooked meal might be
nice. I don’t know, maybe take care of
you, for a change.
PAUL
That’s uh... sweet, hon. Hey-- I, uh,
talked to Greg and looks like there’s
a developer who’s interested in the
house, so that’s good news.
LYDIA
How is that good news?
PAUL
No escrow, no inspections. All cash.
Cuts through the bullshit.
LYDIA
What happened to finding the right
people?
PAUL
What does that matter? We’re not gonna
live here with them.
LYDIA
Your life’s work is in this house.
It’s our home. The only home that
Emily and Jacob have ever known.
PAUL
Yeah, well Emily hasn’t stepped foot
in “our home” in three years--
Lydia crosses to him, brandishing a kitchen knife.
LYDIA
I just, I’m confused.
PAUL
Put the knife down.
LYDIA
I’m just gesturing.
PAUL
I know, but you’re all hyped up, so
put the knife down--
LYDIA
Well, I’m not gonna kill you.
PAUL
Yeah, so put it down.
Lydia notices Paul’s wrapped up pinky.
LYDIA
Wait-- what happened to your finger?
PAUL
Mikey’s out.
Lydia drops her knife.
LYDIA
He’s out?
PAUL
Yeah. And he wants eighty grand by
tomorrow--
LYDIA
Wait, why? What did he do to you?
PAUL
It’s what he’ll do to us that I’m
worried about.
(then)
He knows everything, Lydia. He could
destroy us.
LYDIA
Okay. Okay, but selling to a
developer, still there’s no way we can
get eighty grand by tomorrow.
PAUL
I-- I’ll figure something out. Just
start packing.
27 Off Lydia, tormented, we... 27
30 INT. CARLA AND DENNIS’S APARTMENT – BATHROOM - SAME 30
Dennis and Carla brush their teeth over the single sink of
their cramped bathroom.
DENNIS
You know, I’ve been thinking about
what you were saying about the Los
Feliz place. And I think you’re right,
I think it might be a bit of a
stretch.
30 CONTINUED: 30
CARLA
I mean, I wish I wasn’t right, but I
am. Which is a bummer.
DENNIS
It is a bummer. Cause if we put all
our money into the house, then we
can’t afford a nanny. And what if we
need a new roof, right? I don’t have
Jay-Z money.
Carla spits, continues brushing.
CARLA
Yet. But you’re right, babe. We
definitely need to be more practical.
So, as a backup plan, I was looking at
this place in Baldwin Hills. Now it is
a bit of a hike, and kind of a tear
down but--
DENNIS
Or... we could just get the Los Feliz
place?
CARLA
I’m lost. I thought we just agreed we
can’t afford it?
Dennis turns to her, like he’s delivering the best news ever.
DENNIS
We can’t. But, my mom can.
CARLA
What?
DENNIS
Evidently she made a killing in the
market since she retired from Chase
and she’s sitting on a ton of cash.
CARLA
Really?
DENNIS
Big money.
CARLA
And... she’s just gonna give it to us?
DENNIS
Just like that.
CARLA
No strings attached?
DENNIS
Might be a string.
CARLA
How long a string?
DENNIS
Long enough to wrap around a present
and tie into a little bow.
CARLA
Why is there a little bow?
DENNIS
Because she’s gonna leave New York,
move in with us and help us raise our
baby!
Off Carla’s shock, as Dennis walks off...

31 INT. BIG MODERN BATHROOM - LATER 31
Margo, in fancy PJs, stares at herself in the mirror in her

cartoonishly large bathroom. She takes off her necklace. We
follow her out the door...
32 INT. MODERN MCMANSION - PRIMARY BEDROOM - CONTINUOUS 32
As Margo gets into bed next to her husband... JD. He looks up

from his book and smiles.
JD
How was dinner with the girls?
MARGO
Fine. Sally was really going through
something, so she was just yammering
on and on.
JD
She okay?
MARGO
I don’t want to burden you with it.
Margo goes in for a quick kiss.
MARGO (CONT’D)
Unless you want to hear about her
endometriosis.
32 CONTINUED: 32
JD
Yeah. No I’m good, I think. I’m just
glad she has a friend like you, you
know, she’s lucky.
MARGO
Yeah.
Margo lays down in bed and gives out a relaxed sigh.
JD
Well Harper’s in bed if you want to go
say goodnight.
MARGO
Yeah. Of course.
JD
She was asking about you.
MARGO
Aw.
Margo sighs, gets up and heads out the door.

28 EXT. MORGAN HOUSE - NIGHT (N2) 28
An SUV pulls up and parks across the street. Leslie, wearing

gold Nikes, exits the car, clicks her alarm, and scopes out
the street as she approaches the house.
She smiles... it’s just as pretty at night. She spots a side

gate and crosses off.
29 INT. LESLIE AND SARAH’S BUNGALOW - KITCHEN - NIGHT 29
Sarah, alone in her and Leslie’s tiny house, checks the front
window for any sign of Leslie’s car. Nothing.
She moves to a cabinet and pulls out some sort of kit from
way up on the top shelf. She zips it open, takes out a NEEDLE
and fills it with an unknown substance.
33 EXT. MORGAN HOUSE - SIDE OF HOUSE - SAME 33
Leslie, nonchalant, approaches the gate. She looks up to the

second floor, craning to get a peek through the window of
that locked bedroom, where she heard the voices earlier.
LESLIE
(to herself)
What’s going on up there? Who was
turning the door knob?
33 CONTINUED: 33
She glances around, then tries the handle on the gate. It

won’t budge. After a moment...
LESLIE (CONT’D)
Okay, let’s just... take a peak. Upper
body strength, here we go...
She reaches for the top of the gate, attempting to look

over... as the gate suddenly unlocks, swinging open with
Leslie still attached to it.
She hops down and creeps along the side of the house, her
iPhone flashlight on. She holds it up to the second floor,
straining to see in the window, when she trips the FLOOD
LIGHTS! Which wakes up the neighbor’s VERY LOUD DOGS!
LESLIE (CONT’D)
Fuck fuck fuck!
She looks around, panicked, and ducks next to a hedge.

34 INT. MORGAN HOUSE – PRIMARY BEDROOM - SAME 34
The BRIGHT LIGHTS outside wake up Paul and Lydia. Spooked,

Paul scrambles to the window.
LYDIA
What’s happening?
PAUL
I don’t know.
Paul pulls back the curtains and looks out.
PAUL (CONT’D)
Someone’s out there.
LYDIA
(worried)
Did you fix the side gate?
PAUL
Stay inside.
Paul scrambles out the door. Lydia pulls up the covers.
LYDIA
Fuck.
35 INT. MORGAN HOUSE - BASEMENT - SAME 35
Paul enters the dank, unfinished basement filled with boxes

and a maze of EXPOSED PIPES.
35 CONTINUED: 35
He flicks on a lone WORK LIGHT and crosses to a small

workstation, grabs a pair of UTILITY GLOVES...
37 EXT. MORGAN HOUSE - SIDE OF HOUSE - MOMENTS LATER 37
The FLOOD LIGHTS shut off and Leslie pokes out from the
hedge. She stands and carefully shimmies her way across the
side of the house... trying desperately not to trip the
lights again...
LESLIE
(to herself)
Nice and easy...
Suddenly, she hears a CLICKING sound coming from just beneath

her. She looks down just in time to see she’s straddling one
of the SPRINKLERS.
LESLIE (CONT’D)
No, no, no--
Too late! The SPRINKLERS go off between her legs, spraying

her like an unwelcome bidet.
38 INT. MORGAN HOUSE - JACOB’S BEDROOM – SAME 38
Lydia enters her son’s bedroom, her phone to her ear. She
sits at his desk, as the call goes to voicemail.
JACOB (V.O.)
Yo, it’s Jacob. Leave me a message. Or
text me like a normal person.
On the desk, we see a few DODGERS BOBBLEHEADS, an OLD

CALENDAR, a framed photo of JACOB at his piano recital.
LYDIA
Hey honey bun, thinking about you. Dad
and I are... hanging in there.
39 INT. MORGAN HOUSE - BASEMENT - SAME 39
Paul, balancing on a rickety wooden chair, jimmies open the

ELBOW JOINT of one of the PIPES snaking the ceiling. He pulls
the joint apart, reaches in and pulls out a wet plastic bag.
Paul shakes it off, unseals the bag and pulls out a HANDGUN.
JD (PRE-LAP)
Did you see the For Sale sign across
the street?
40 INT. MODERN MCMANSION - PRIMARY BEDROOM - SAME 40
Margo is back in bed next to JD.
JD
Looks like the Morgans finally decided
to sell.
MARGO
(unsure where he’s going)
Yeah, I saw.
JD
Always loved that house. Kinda
surprised they haven’t sold sooner.
MARGO
Oh, I think the timing makes perfect
sense...
JD
Yeah, what with the market and
everything?
MARGO
No. Because if you wait three years...
you don’t have to disclose that your
son died in the house.
41 INT. MORGAN HOUSE - JACOB’S BEDROOM - SAME 41
Lydia, still at the desk, picks up a SCHOOL PHOTO of

JACOB. He’s 16, cute, with floppy hair. She picks up the
photo sweetly, tears in her eyes.
LYDIA
I miss you. I just wish I could see
you or feel you... and know that
you’re here with me... so...
Lydia ends the call and stands, when, suddenly... the

overhead light FLICKERS. She freezes, trying to shake it off,
when it blinks again. A flood of emotion.
LYDIA (CONT’D)
Hi.
42 INT. MORGAN HOUSE - GREAT ROOM - A LITTLE LATER 42
Lydia comes down the stairs in her robe. A nervous,

distracted Paul enters from the garden.
42 CONTINUED: 42
LYDIA
Anybody out there?
Startled, he SHRIEKS!
PAUL
Ahh! Jesus Fucking Christ!
LYDIA
(stifling laughter)
Sorry. Didn’t mean to--
PAUL
Coast is clear.
(then)
Are you laughing at me?
LYDIA
(yes)
No.
PAUL
What’s the matter? Me shrieking like a
little girl, that doesn’t turn you on?
LYDIA
Um, I feel like there’s no good way to
answer that?
PAUL
That’s fair. So, I don’t know, I guess
it was a raccoon maybe, or something
weird with the lights.
LYDIA
(a glint)
Yeah. Maybe.
(kisses him sweetly)
Come to bed soon, okay?
PAUL
Yeah. I’ll be up in a little bit.
Lydia heads upstairs. Paul watches her go... After a beat, he

reaches and pulls out the HANDGUN from the back of his waist.
He looks around for a hiding spot, then quickly crosses... to

the GRAND PIANO. He quietly opens the lid and carefully tucks
the gun deep inside. As we:
MATCH CUT TO:

43 INT. MORGAN HOUSE - KITCHEN - THREE YEARS AGO - NIGHT (FBN1)
CLOSE ON THE SAME GUN on the tiled floor. A SHRIEK, and a

QUICK FLASH of a body, laying in blood.
CUT BACK TO:

44 INT. MORGAN HOUSE - GREAT ROOM - NIGHT (N2) 44
Paul shuts the lid of the piano.
As he heads up the stairs, we REVERSE to reveal Leslie,

soaking wet, eyes wide, watching him through the picture
window. She runs back to her car, as we...
SMASH TO BLACK.
END OF EPISODE

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NO GOOD DEED

Writer's Draft V.8 (1/24/24)

Ozzy Osbourne’s “Mama, I’m Coming Home” plays as the camera

We focus in on a stunning 1920’s SPANISH-STYLE HOME, as we

Inside, a CHARMING FOYER leads to a Pinterest-worthy GREAT

SELLING AGENT (O.C.)

We widen to reveal an OPEN HOUSE in progress. INTERESTED

CLOSE ON an IPHONE, streaming this RING CAM footage.

REVERSE TO REVEAL PAUL, 50’s, a put-upon feelings- avoider

Paul points out Cynthia and Barry.

Lydia looks, sizing them up.

INT. MORGAN HOUSE - GREAT ROOM - CONTINUOUS - INTERCUT

Cynthia approaches the gorgeous ANTIQUE GRAND PIANO that

Angle on LESLIE FISHER, 30’s, curious to a fault and SARAH,

Sarah looks around the room with wonder, breathing it in.

Leslie looks at her, a little stung.

4 INT. MORGAN HOUSE - FOYER - SAME 4

A HANDSOME, CHISELED MAN wearing a baseball hat, sunglasses,

DENNIS, Black, 30’s, indefatigably upbeat/crushingly anxious

She smiles. He kisses her. It’s sweet and romantic.

JD walks in from the next door room, passing them.

Denise notices JD. Her eyes go wide.

But Denise is already sidling up to JD by the dishwasher.

JD can’t help but smile. It’s always nice to meet a fan.

A beat. JD, who’s never been good at improv, stammers.

As JD makes his escape...

Leslie and Sarah arrive at the upstairs landing.

Leslie spots a closed door. She tries to open it, but--

INT. UNKNOWN LOCATION - SAME

Paul and Lydia dart their eyes to the door.

MAIN TITLES: NO GOOD DEED

MARGO STARLING, perfectly coiffed, dripping in Gucci,

Margo takes in the decor, regarding the original chandelier

Greg enters and recognizes her immediately.

MATCH CUT TO:

11 INT. MORGAN HOUSE - JACOB’S BEDROOM - MOMENTS LATER 11

Paul and Lydia continue spying on prospective buyers from

Paul looks closely at the phone, disappointed.

Lydia gets choked up.

Lydia, wistful, looks out the window to the backyard.

She looks down at her hands. They’re visibly shaking.

Paul sighs, then takes her hands in his.

Lydia strokes his cheek lovingly. She misses it too.

Lydia stands. Paul keeps watching as A TOUGH LOOKING MAN who

Lydia crosses to the door.

Paul, deeply unsettled, watches as the man LOOKS DIRECTLY

Leslie notices the doorknob move and... are those people

Sarah heads down the stairs, as Leslie looks back at the

Leslie and Sarah on the sidewalk, admiring the house. Leslie

Sarah nods, a tinge of regret in her eyes.

Leslie looks around the incredibly idyllic street.

LESLIE SARAH (CONT’D)

LESLIE SARAH (CONT’D)

They giggle. As they walk off...

Carefully, she places each frame back on the mantle:

- Lydia and Paul with their EIGHT-YEAR-OLD DAUGHTER and NINE-

- Paul carrying Lydia over the threshold of this house on

- The KIDS, EIGHT and NINE, flanking a joyful Lydia on the

As Lydia lingers on the photo, we hear ECHOES of her CHILDREN