NEIGHBORHOOD MAN

EPISODE 101:"NEIGHBORHOOD PLAN"

by
URI PONTE
 TEASER

EXT. SCHOOL - MATH BUILDING - NIGHT

DARKNESS........then LIGHTS flicker on, illuminating a man at

the edge of the frame. MICHAEL (Mid-20s, lean-looking), who
is slightly inebriated, limps down the hallway, his balance
shaky. He stumbles but manages to regain himself.

Michael reaches the end of the hallway and takes the stairs
down.

EXT. SCHOOL - PARKING LOT - NIGHT

The parking lot is eerily quiet, empty except for a single

2010 SEAT ALTEA XL, the definition of pathetic car. Michael
staggers towards the car, slides into the driver's seat, and
starts the engine.

Just as he prepares to leave, two high beams of light pierce

the darkness. A GIXON POLICE car pulls up, flashing its
orange lights. Michael begrudgingly stops.

Michael steadies himself, taking deep breaths and slapping

himself in the face. He retrieves his license and
registration from the glove compartment.

THE COP(60s, been at this job for awhile), steps out of his
patrol car and approaches Michael's vehicle. He knocks on the
window, gesturing for Michael to roll it down.

COP
Thank you. Now please, license and
registration...

Michael complies. The cop's face hardens as he examines the

documents.

MICHAEL
Officer, I'm just here because--

COP
(interjecting)
Uh-uh, let me do the talking.

MICHAEL
O-kay...

The cop glances at Michael's license.

COP
Michael Coo..ke. What are you doing
here at 2 am?
 2.

MICHAEL
I'm a teacher here. I was just
preparing my classroom for
tomorrow.

The cop's eyes narrow as he spots an OPEN BEER CAN in the

car's cup holder.

COP
You expect me to believe that
you're a teacher, here at this
hour?

Michael, trying to divert the conversation, spots the cop's

MIAMI DOLPHINS sports bracelet.

MICHAEL
You're a Dolphins fan? I saw them
play once--

COP
(commanding)
SIR, STOP IT!! You are obviously
not a teacher, you should know not
to be here at 2:00 in the morning,
you sounded off the alarms and you
made us think there's a robbery.

MICHAEL
(feigning tears)
I'm so sorry, sir. My ex-girlfriend
is a teacher here, and she just
dumped me. You understand, right?

The cop isn't buying it.

COP
Please step out of the vehicle.

Michael drops the act, his frustration boiling over.

MICHAEL
What, are you going to arrest me,
you racist PIG.

Note: Michael is white.

COP
If you don't step out, I'll have to
use force.

Finally, Michael relents.

 3.

MICHAEL
I'm sorry, officer. Please don't
arrest me. It's been a tough day.

The cop pauses, uncertain.

WIDE SHOT - The quiet night is interrupted only by the sound

of crickets. Michael's fate hangs in the balance.

END TEASER

EXT. MICHAEL'S HOUSE - FRONT PORCH - DAY

Michael, wearing pajamas, sporting a black eye,4 steps out of

his house, picking up the newspaper lying on the doormat.

RON (50s, pot-bellied, fatherly), his neighbor, stands in the

front yard of the house nextdoor.

RON
Hey, Michael. Heard you got into a
bit of trouble last night.

MICHAEL
(nonchalant)
Yeah, a junkie punched me at the
station.

Michael's attention shifts to a MOVING TRUCK pulling up at

the house across the street. A BLUE TOYOTA pulls up behind
it.

MICHAEL (CONT’D)
New blood on the block, huh?

RON
Yeah, some family. The Lukes, I
heard.

The LUKE FAMILY -- DON (40, robust, friendly), PHOEBE (37,

sweet, reserved), and MARCUS (10, troublemaker) -- emerge
from the toyota. Marcus, upon noticing Michael, flashes a
mischievous smile.

Uncomfortable, Michael retreats back into his house.

INT. MICHAEL'S HOUSE - KITCHEN - DAY

Michael sits at the kitchen table, reading the Comics Section

in the Gixon Gazette, chuckling at the antics of Mark
Dashkowitz, the smart-mouthed alien mobster from Jupiter.
 4.

Suddenly, the doorbell rings, interrupting his peaceful

Saturday afternoon. Michael slaps the newspaper down on the
table, his face showing his annoyance. If only this was a
world without doorbells, right?

EXT. MICHAEL'S HOUSE - FRONT DOOR - DAY

Michael opens the door, revealing Phoebe and Don. They greet
him with warm smiles.

PHOEBE
Hi, we're your new neighbors. I'm
Phoebe, and this is--

DON
(interrupting)
Don. Hi.

Don extends his hand for a handshake, but Michael just stands
there, nonplussed, staring at Don's hand.

PHOEBE
(continuing the
conversation)
......We thought we'd introduce
ourselves and... uh, invite you to
our welcoming party tomorrow.

Michael is clearly uninterested.

MICHAEL
(puzzled)
Why?

PHOEBE
Well, we thought it'd be a nice
chance to meet everyone.

Michael exhales.

MICHAEL
(resigned)
See you there.

He steps back inside and shuts the door, leaving Don and
Phoebe outside.

EXT. MALL - PARKING LOT - DAY

The lot is filled with parked cars, nothing is happening

until.................A BEAT-UP SEDAN skids into the frame,
followed closely by a SHINY SPORTS CAR.
 5.

The Sedan comes to a halt, evidently out of gas. The Sports

Car pulls up behind.

BRYCE GRAYSON (28, thin, ragged clothes) and HOWARD HITCH

(28, equally disheveled) scramble out of the Sedan. A man
with long hair, wearing a ripped jean jacket and pants, named
MARCO, jumps out of the sports car, brandishing a BAT in his
hands.

MARCO
(angry)
Where the fuck is my MONEY?

GRAYSON
(defensive)
We don't have it, man.
(pleading)
Just give us a few more days.

Marco, further enraged, smashes the front window of Grayson

and Hitch's car with his bat. Marco starts to lunge at
Grayson, Grayson flinches, raising his arms protectively.
Marco pauses, reconsiders, then lowers his bat.

MARCO
(threatening)
You got two days. After that, no
more fucking carrot, only stick.

With a final threatening wave of the bat, Marco gets back in

his car, reverses, and speeds out of the lot, leaving Grayson
and Hitch shaken.

HITCH
(panicked)
Well, what are we going to do now?

EXT. BACKYARD - DAY

A crowd buzzes with casual suburban chatter. The camera

weaves through, finally landing on Michael, looking worse for
wear. Despite his reluctance, he ventures into the swarm.

Phoebe, a beacon of warmth, greets him.

PHOEBE
Hi, Michael!

Ignoring her welcoming gesture, Michael moves past her and

continues to navigate through the party.
 6.

EXT. PATIO - DAY

Friends and neighbors gather around a table decked with food

and drinks. Don and Phoebe stand at the helm, poised to
address the gathering.

PHOEBE
(clearing her throat)
Well, everyone...

She gets drowned by the ambient noise. Taking a fork, she

taps her glass to command attention.

PHOEBE (CONT’D)
(raising her voice)
Hello, everyone! Thank you for
joining us today.

DON
(interjecting)
Yes, a big thank you to all of you
for making us feel so at home
already.

PHOEBE
(with a smile)
And we look forward to many more
such get-togethers in the future.

The CAMERA PANS across to Michael, his interest waning. His

gaze wanders off, focusing on something in the distance on
his lawn. Suddenly, he stands, a puzzled look on his face.

EXT. LAWN - DAY

Marcus appears to be SHITTING on the lawn. Michael rushes

over.

MICHAEL
(angry)
What are you doing?

MARCUS
(defiant)
Takin' a shit.

Michael's eyes nearly pop out of their sockets.

MICHAEL
(shocked)
What??
 7.

MARCUS
(smirking)
You heard me, you stupid fuck!

MICHAEL
(frustrated)
What the--...I'm getting your
parents.

He turns on his heel, storming back towards the party.

CUT TO:

DON AND PHOEBE'S ARRIVAL

DON
We're sorry about this, but boys
will be boys.

Michael, crosses his arms.

MICHAEL
Boys will be boys? Why don't you
stop him from shitting on my lawn?

Don, taken aback, struggles for an answer.

DON
Well, Marcus is a very expressive
child, and we find it's best to let
him tire himself out.

Michael can't believe what he's hearing.

MICHAEL
(starting to get angry)
Are you fucking serious?

Phoebe gasps, shocked by Michael's language.

PHOEBE
Please, no swearing in front of
Marcus. We're going now. See you
later, Michael. Bye, sweetie.

Marcus waves at them.

MARCUS
Bye, Mom!

Michael stands, still in disbelief, as Don and Phoebe exit.

He watches them, shakes his head.
 8.

MICHAEL
(surprised)
What in the actual fuck?

Resigned, Michael turns and heads back into his house,

leaving Marcus shitting on the lawn.

INT. MICHAEL'S BEDROOM - DAY

Michael enters his room. It's tidy but shows signs of stress:
unmade bed, papers strewn on the desk. He slumps onto his
bed.

CAMERA PANS to reveal a FRAMED PICTURE on his nightstand.

It's a picture of a GIRL, about his age, smiling at the
camera. Who is it? A lost love? Or maybe someone still in his
life?

He stares at the picture for a moment, lost in thought. The

room grows silent, heavy with an unspoken past.

INT. APARTMENT - DAY

The apartment looks like a war zone. Dirty dishes, stacks of

unpaid bills, a toddler in a high chair smearing mashed peas
all over his face. JONATHAN (5), a human cyclone of energy,
is running laps in his underpants. MELISSA (40s, tired), at
the end of her rope, tries to dress him.

KNOCK KNOCK...

Melissa sighs, abandoning the wriggling child, and checks the

peephole.

MELISSA
(mumbling)
Dammit.

Opening the door, she reveals GRAYSON.

MELISSA (CONT’D)
Grayson.

GRAYSON
Hey, mom!

MELISSA
I don't have any cash.

GRAYSON
Every time I visit, you assume I'm
here for money.
 9.

MELISSA
Aren't you?

Grayson avoids the question, spotting Jonathan.

GRAYSON
Hey, Johnny!

He swoops the child into his arms and plants himself on the
couch. Melissa eyes him, wary.

MELISSA
He needs to get to school. Whatever
you want, it'll have to wait.

GRAYSON
Actually, I need it now.

Melissa sighs heavily, reaching for her purse.

MELISSA
How much?

GRAYSON
(murmuring)
Five grand.

MELISSA
Get out. NOW.

Grayson blinks, shocked, then attempts to recover.

GRAYSON
Mom, what about Paul?

MELISSA
Paul's got enough of his own
problems in Cincinnati. Now, GET
OUT.

GRAYSON
But, Mom, I--

MELISSA
I don't care if you crossed a drug
lord or if it's for rent. I can't
give you five grand. OUT.

Grayson breaks down, curling up on the floor.

GRAYSON
(through sobs)
I need it, Mom. Please...
 10.

Melissa watches him, her expression cementing.

MELISSA
Get yourself together while we're
gone.

EXT. APARTMENT - DAY

HITCH
Get the cash?

GRAYSON
She didn't have it.

HITCH
Damn.

GRAYSON
Yep.

INT. MICHAEL'S HOUSE - MORNING

MONTAGE:

-- CAMERA TRACKS from the foot of the bed to Michael.

-- Michael rises from bed, shuffling towards the Bathroom.

-- He stares into the mirror, rubbing the sleep from his

eyes.

-- Michael's right hand turns on the faucet.

-- Left hand reaches out to a toothbrush perched on the

stand.

-- Toothbrush is run under the cascading water.

-- Michael brushing his teeth, segueing seamlessly to him

biting into a Chocolate Croissant.

-- Michael pours orange juice into a glass, lifting it to his

lips for a hearty gulp.

-- He rises from the table, stretching and yawning.

--MEDIUM WIDESHOT of Michael looking at his backyard.

END MONTAGE

Michael scans his backyard, it's part of his daily routine,

nothing is out of the ordinar--

He notices something.
 11.

EXT. BACKYARD - MORNING

Michael goes out, he sees there is a drawing on a fence,

something crude, something a child would draw, he continues
walking and continues to see more and more childlike drawings
on his fence as he continues walking.

When he follows the fence up the front yard, he looks up to

see Don getting out and getting the newspaper. Michael looks
at Don with a look of hate, he knows this is Marcus's doing,
he runs across the street.

DON
(pleasantly)
Hello Michae-

MICHAEL
(furiously)
Save your hellos for when the
police get here.

DON
(surprised)
Wha--

MICHAEL
Your shitty little kid drew
over my fence.

Don is perplexed. He looks over at Michael's house to see the

drawings on the fence.

DON
(confused)
What? Marcus would never--

MICHAEL
(interjecting)
Marcus? Your "expressive" son who
took a shit on my lawn yesterday?
Don't play dumb, Don.

Don looks perplexed, but Michael is already dialing 911.

CAMERA RISES UP to a beautiful sky, showing the passage of
time, then LOWERS DOWN again to find Michael still berating
Don.

MICHAEL (CONT’D)
(happily)
Enjoy your time in jail, Don.

Sirens are heard. They grow louder. Michael grins, eager for
justice to be served.
 12.

The police car pulls up. Two cops exit the car.

His face falls, however, when he recognizes one of the cops -

the cop who arrested him for drinking at the school two days
ago.

MICHAEL (CONT’D)
(nervous)
Um, hello, officers. The issue here
is...

OTHER COP
Hey, aren't you the asshole who was
drinking at a school.

RECOGNIZABLE COP
Holy shit, it is. I totally forgot,

I got this guy for public intoxication at a school, goddamn!

(laughs).

Both cops laugh at Michael. He collapses within himself.

MICHAEL
Ok, well anyway, so--

RECOGNIZABLE COP
(enthusiastic)
Oh my god, are you Don Luke?

The Recognizable Cop rushes over to Don, starstruck.

DON
(smiling)
I am.

RECOGNIZABLE COP
(to other cop)
Kevin, do you know who this is?
He's the owner of the fish store
who sent us those banana nut
muffins.

KEVIN
You're kidding me! Those muffins
were heavenly. How'd you make 'em,
Don?

DON
A secret recipe from my wife.
You'll have to ask her.
 13.

RECOGNIZABLE COP
We owe you big time for those
muffins, Don.

DON
No, you don't. Anything for our
boys in blue.

RECOGNIZABLE COP
We should return the favor.

MICHAEL
(interrupting)
....Are you guys going to help me
or what?

The Recognizable Cop looks at Michael with disgust, then

turns back to Don.

RECOGNIZABLE COP
Don, what seems to be the problem
here?

DON
Well, Michael here claims my boy
Marcus vandalized his fence, and...

RECOGNIZABLE COP
(to michael)
And what? You're calling
the cops on a kid? (back
to don) Listen, you don't
have to worry about this
guy. Just go about your
day and call us if he
acts up agai--

MICHAEL
(interrupting)
But, officer--

Kevin, fed up, slaps Michael on the back of the head.

KEVIN
The man's speaking. SHUT UP!

The recognizable cop pulls out a card and hands it to Don.

RECOGNIZABLE COP
Here, my personal cell. You can
reach me anytime.

DON
Thanks, officer--
 14.

MICHAEL
(interrupting)
I really think--

RECOGNIZABLE COP
(heated)
Enough! Go home. NOW! Any more of
this and you're looking at a
harassment charge. Understand?

Michael, deflated, hesitates before slinking away.

MICHAEL
Well, the Miami Dolphins suck
anyway.

Abruptly, he spins on his heel, making a hasty exit. The cops

watch him go, a collective sigh passing between them.

RECOGNIZABLE COP
(under his breath)
What an asshole!

CUT TO:

EXT. GIXON RESIDENTIAL PARK - DAY

Bathed in the mid-day sun, Hitch sits on a park bench, while

Grayson paces around like a caged animal. There's an air of
desperation and anxiety as they brainstorm a plan to raise
$5000 for Marco.

GRAYSON
(pacing)
What if we get a kilo from Banda de
la Muerte and sell it wholesale?

HITCH
(raising an eyebrow)
Solve our problem by getting
involved with more drugs? I don't
know, man.

Grayson sighs, running a hand through his hair. Hitch turns

his gaze back to the park, the silence stretching between
them.

HITCH (CONT’D)
(leaning back)
Besides, do we really want to get
involved with a gang whose name
translates to "death gang" in
Spanish?
 15.

Another beat of silence. Suddenly, Hitch sits up, a glint of

determination in his eyes.

HITCH (CONT’D)
(looking at grayson)
I have an idea.

GRAYSON
(perking up)
What?

HITCH
(slowly)
My mom used to work at Gixon Local
Bank. I know the place like the
back of my hand - no security
guards, no cameras, and usually
just one teller. I think... I think
we can take it without being
caught.

Hitch looks expectantly at Grayson, whose gaze has taken on a

distant, speculative look.

HITCH (CONT’D)
(continuing)
What do you say, Grayson?

The camera focuses on Grayson's face, his expression

unreadable. The tension builds. His answer is.....

CUT TO:

INT. MICHAEL'S LIVING ROOM - DAY

Michael is settled on the couch, unimpressed, scrolling

through "How to deal with problem neighbors" on his computer.

Suddenly, a childlike noise breaks his focus. He recognizes

it as Marcus. He gets up to go confront him.

EXT. MICHAEL'S BACKYARD - DAY

Marcus is on his bike, gleefully tearing up the lawn,

oblivious to Michael's frustration.

Michael approaches him, a tired plea on his lips.

MICHAEL
Marcus, could you not—
 16.

MARCUS
(interjecting)
What? I can do whatever I want,
right? Or...you're going to jail,
buddy.

Deflated, Michael watches as Marcus continues his backyard

rampage.

Marcus sings as he rides.

MARCUS (CONT’D)
(singing)
Loser, loser, Michael's a loser. If
you're a piece of shit loser, your
name is Michael

Suddenly, Marcus tosses a bag at Michael.

MARCUS (CONT’D)
Check it out.

Michael opens the bag and immediately recoils.

MICHAEL
(depressed)
This is...shit. Why would you give
me this?

Marcus just cackles in response.

INT. HITCH'S CAR - DAY

Hitch and Grayson sit in the car, preparing for the bank
heist. Hitch lays out the plan calmly.

HITCH
Ok, so the plan is I'll be outside
on the lookout. You'll go in, slip
the teller a note, they'll hand you
the money, and we get out and no
one will be the wiser.

Grayson fidgets, anxiety etched on his face.

GRAYSON
But what about the license plate?
What if the teller comes out and
notices it?

Hitch smiles, already a step ahead.

 17.

HITCH
I've got that covered. They won't
see it.

CUT TO:

EXT. HITCH'S CAR - DAY

The license plate is obscured with a layer of tape.

BACK TO THE SCENE

GRAYSON
I don't know, man. Feels like we're
rushing this. We're gonna get
caught.

HITCH
Look, Marco is gonna off us in like
10 hours if we don't steal this
cash.

Grayson sighs heavily, hands trembling on the wheel.

HITCH (CONT’D)
This bank - it's small, unassuming,
single teller. In this podunk town,
no one's even gonna blink.

Grayson grips the steering wheel tighter.

GRAYSON
Alright, fine.

He reluctantly steps out of the car, wobbling as he heads

toward the bank.

INT. GIXON BANK - DAY

Grayson gets in the bank and meets the teller.

GRAYSON
He..ell..o.

The camera slowly pans from Grayson's face to the bank teller
to reveal...Michael.

Grayson fidgets, the sweat now pooling on his forehead.

GRAYSON (CONT’D)
I need...uh...I need to...

MICHAEL
Hey, you alright, buddy?
 18.

Michael's eyes catch sight of a note peeking out of Grayson's

pocket.

MICHAEL (CONT’D)
(plainly)
You here to rob the bank?

GRAYSON
What? No.

MICHAEL
Okay, cool. How much you need?

GRAYSON
(swallowing)
Uh.....Five grand.

Michael pauses, studying Grayson for a moment.

MICHAEL
Instead of going down this
path...what if I offered you a job?

Grayson's eyes squint with an awkward befuddlement.

SMASH CUT TO:

EXT. BANK ALLEYWAY - DAY

Grayson, Hitch, and Michael huddle in the alleyway behind the

bank.

MICHAEL
It's simple. You guys smash a few
things, rip a couch or two, no
biggie.

HITCH
So, a home invasion.

MICHAEL
No, it's a...house rearranging. You
guys do this, you get your money.
Easy as pie.

Hitch and Grayson exchange a look of uncertainty.

MICHAEL (CONT’D)
What, not game? Want me to dial 911
and mention a couple of junkies
tried to stick up a bank? Maybe
drop a hint about a license plate
number?
 19.

The three glance at Grayson's car, with its license plate

haphazardly covered with duct tape.

MICHAEL (CONT’D)
Yeah, what you thought that shit
was gonna work?...listen, I need
you two, and you two need me.

GRAYSON
Alright, we're in.

Michael smirks, giving a triumphant thumbs up. Grayson is not

happy.

INT. MICHAEL'S LIVING ROOM - NIGHT

Michael paces nervously in his living room, glancing at the

LUKE HOME in the distance. A sudden BEEP from his phone,
breaking his chain of thought.

MICHAEL
(into phone)
Hey... Yes... They've switched off
their lights... Give it an hour,
then you're good... Alright... Bye.

Michael hangs up. A disquiet happiness settles on him as he

looks out into the dark.

DISSOLVE TO:

INT. MICHAEL'S BEDROOM - MORNING

MONTAGE:

-- Michael wakes up, a smile on his face.

-- He strolls into the bathroom, greeting himself in the

mirror.

-- He turns on the faucet, grabs his toothbrush.

-- Brushing his teeth transitions to him enjoying a chocolate

croissant.

-- He pours orange juice into a cup, sipping it with delight.

END MONTAGE

SUDDENLY, a commotion outside. Michael frowns, intrigued.

 20.

EXT. MICHAEL'S HOUSE - MORNING

Michael steps outside, a crowd of NEIGHBORS and POLICE CARS

surrounds the Luke Home. DO NOT ENTER tape cordons the
property. He moves closer, standing next to Ron.

MICHAEL
(whispers)
Ron, what happened here?

RON
Seems like a botched robbery. Don
was shot and killed. And Marcus,
their son, is missing.

Ron's voice blurs as the camera ZOOMS IN on Michael's

stricken face. As focus returns, Ron's voice fades back in.

RON (CONT’D)
...And that's how I busted my
Volvo. Crazy, right? But what
happened to the Lukes...
devastating.

Michael, crushed, trudges away from the scene.

INT. MICHAEL'S LIVING ROOM - MORNING

Michael enters his living room and collapses onto his couch,
staring into the abyss. This was not at all how this was
supposed to go.

FADE OUT.