PeaceHawks LLC

EXT./INT. MID-DAY, A CHELSEA LATE MORNING LOWER MANHATTAN, NYC 1967
Jim, an 18 year old Puerto Rican boy,(whose looks are classic WASP with black hair) school bag in hand, gives a quick once over the fruits and vegetables stands on either side of the set of double doors; He slides sideways into a Bodega sharing the opposite direction of the doorway with an exiting customer. Before his eyes unfolds an unreal scene. Cruz, a black haired beady eyed 5 foot 6 Latin man yelling at Jim’s mom. Cruz is holding a loaded 38 caliber revolver all the time aiming at her. In a flash Jim steps between my Mom and Cruz right hand extended; stops...

JIM
Cruz what are you doing? Please in the name of God put the gun down...
CRUZ
Saltè del medò Jimmy!!!
(Get out of the way Jimmy!!!).
Over Jim's shoulder Manolò, an employee behind the checkout counter makes his way to the waist high telephone by the register and presses 0. Phone in hand he squats down below the counter; He gets the police...
Mary's yells back at Cruz all the while. The few people at the checkout counter are frozen mid the unreal unfolding drama.
MARY
Ay Dios miò!!! Jimmy... El esta boracho!!! Por Dios Jimmy dejalo quieto!!
(Oh my God!!! Jimmy!..He’s drunk!!! For God’s sake leave him alone!!!) )
Jim all the while, takes the smallest of steps towards Cruz, Jim's right hand still extended, all the time inching towards Cruz...


JIM

What on earth are you doing??? Cruz no matter; just please "tranquilate" (clam yourself) give me the gun before someone get hurt.
Just then as if on cue the Police arrive stopping their squad car in front of the store; Both officers, hands on their holstered pistols enter the bodega. In a calm clear voice the first officer..

FIRST OFFICER
Young man please bring your hand down and step away from him.
Turning his attention to Cruz who the Officer obviously know.
FIRST OFFICER CONTINUES
Look Mr. Zamot no matter why just please, put the gun down slowly. There's no reason this has to get out of hand.

The first officer finally gets close enough to swiftly and gently remove the gun from Cruz while in mid squat. As if on signal Mary lunges enraged towards Cruz as the second officer stops her progress and diffuses the situation.
INT. SAME DAY, TIME, LOCATION, NEW ANGEL (CRUZ'S PERSPECTIVE)
An audible sigh blows through store as all exhale. We can suddenly hear the traffic again. By now, the first officer is restraining Cruz lifting him to his feet holding his arm
Manolò is handing change back to a customer who clutching the paper bag eyes wide nods to Manolò and is off. Some of the others look at Cruz as he's escorted to the waiting red light flashing, two way radio blaring car; He lowers his head. On either side of two sets of windows even with the entry doors a crowd has formed as the excited customer is answering questions from neighbors. Jim leaves the ensuing battle between. Mary, his Mom, Police and Cruz, an employee with benefits.
Deterred from Cruz and Mary turns her attention to Jimmy who answering questions from the Second Officer. Jimmy is now hyper. He's coming out of his skin.


()
Turning towards his mother, he is dismissed by the Officer who's taken a statement from Him. Making eye contact with is mother Jim waves himself out of the bodega...

JIM CONTINUES
I'm going to Judy's house...
Jim is out in a flash and across 8th Avenue in an instant and blends into 26th Street.
EXT. SAME DAY MINUTES LATER
EXT. JIM APPROACHES ONE OF THOSE 21 STORY CITY TYPE BUILDINGS ON THE CORNER OF 26TH AND 9TH AVENUE.
INT. ELEVATOR, JIM PRESSES 20...
This elevator has only even numbers on its dull industrial brushed street panel matching the metal wood printed walls and a circular fluorescent lamp from the ceiling.
JIM
When does it stop? What's next, he'll burn down the store? Then what?
Jim places both fist and forehead butted on the back wall; Head between his fist Jim’s turning into himself...

JIM CONTINUES
I have to stay away. I can't go back anymore. Why, what?... Oh God what more must I take?!
The elevator jars to a stop.

INT. LEAVING ELEVATOR TO OVERHEAD FLUORESCENT LIGHTED HALLWAY

Unlocking the door Jim enters the foyer coming to a living room. The upper middle class ambiance is framed with a view of the Met Life and surrounding buildings and the East side of Manhattan to his right. A new RCA Color Television console dominates the northern wall containing a couple of Jackson Po***ck framed prints with a blue couch on the opposite wall with two end tables at either end. Family photos show a large family but not one that includes Jim. Turning his attention from the living room we see more family pictures on a long parson's table lining the hallway wall with one of Jim and the family members seen earlier. Another with his girlfriend, Judy, who's in some of the other pictures. The apartment is empty of any of the folks in the pictures and the lights, with the exception of a light in the kitchen opposite the living room are out.



JIM
I have to get out of this s**t. Thank you Lord for the Schwartz family. At least I can stay here with Judy and well...Now I know how messed up my family is. Haven't had one since Pop was
killed.
He goes to an open doorway, turns right passing a large bedroom to his left into a modest size bedroom with a trundle bed opposite a mirrored topped bureau. He sits on the bed opposite the mirrored dresser looking at himself.
The shock of what's just transpired hits him. We see a single tear roll down his cheek. He turns his head right and takes in the same view as the living room through the smaller set of windows. It's a long stare. In what feels like an eternity we see his mirrored reflection walk slowly towards the windows.
JIM
What did I do to deserve all this s**t?!
Another tear fall from is eye. He opens the window all the way it can go.
INT. SAME DAY AND PLACE & TIME; REVERSE ANGEL
Jim slowly grips the sill and lean out looking to the grounds below. Funny he's seen this view a hundred time and it just crossed his mind what it would feel like to fall down towards the fenced in grass.
JIM
What an ugly place to die.

EXT. SAME DAY, TIME, PLACE, LOOKING DOWN FROM THE WINDOW

Forty feet away from the building is a tree lined walkway with a half block long parking lot the other buildings of the complex surrounding its northern and eastern boundary.

JIM

Will it feel the way it does in my dreams when I'm soaring through the air as I project myself through the Universe? What will it be like to go home? Will it be peaceful?
EXT. SAME DAY AND TIME LOOKING AT THE WINDOW
Gripping the window's sill with his back to the camera Jim lifts his right leg and extends it out behind him followed by his left foot and leg. He is hanging out the sill now with only both hands gripping the sill. He looks down again...
EXT. SAME DAY SHOT FILLS THE SCREEN
JIM
I can do this....

Jim lets go of his left hand and now is dangling from his right hand only.

JIM CONTINUES
Yea, I can… I can do this.
Jim loosens his grip as we see his form descend. A death curdling scream fills the air….
EXT. SAME DAY, THE FOLLOWING IMAGES FILL THE FRAME
Next two hands shoot down. Both hands grabbing Jim by the belt cuff of his jeans. We see the direction of his motion change from decent to lifting up into the window.
JIM
JUDY!!!
CUT TO BLACK

CONCHITA
Look MARY, Nestor's right. Jimmy's just missing his papi a lot.
MARY
Maybe. I know Toñin doesn't spend a lot of time with them. But, what can he do? He's working long hours; he's got to... And I worry that his cousin Frank PRINZE will come around and make trouble.
CONCHITA
What makes you say that?
MARY
Toñin paid his bail to get Frank out of Rickers today. You know what a ju**ie that man is.
CONCHITA
MARY, he's a cousin and I don't think he's that crazy. Don't worry...
Jimmy and Butchie go to the Living Room.
BUTCHIE
I hope you're right. I hate papi. He's always hitting and hurting me. I don't know why?
JIMMY
You're not the only one. He hit me tonight because I wouldn't hit Reggie.
Jimmy lifts his pant leg and show the strap marks.
BUTCHIE
He's a real dick! I hope he get his.
JIMMY
Don't say that.
BUTCHIE
Look whose talking. You just told him he going to get killed. What made you say that? How do you know that?
JIMMY
I don't know. It just came out. I don't know....
CUT TO:
End of 19th serial section
EXT. Same Night, fifteen minutes later at the bodega a bell rings as the door opens. Frank PRINZE and his buddy, dressed in street clothes walk in. Both Puerto Ricans, Frank was released from jail on $100 bail that JOSÈ posted on a drug possession charge today. JOSÈ and Cruz are busy taking care of customers. JOSÈ's wrapping up a sandwich and hands it off to Cruz who is, at the register. When the customer leaves the four are alone in the store.
FRANK PRINZE
Toñin, me and Manny are hungry. Could you make us a sandwich?
JOSÈ
Okay. What do you want?
FRANK PRINZE
Jamon y queso.
(Ham and cheese.)
JOSÈ
Get a soda from the nevera.
As they walk to the refrigerator and take two sodas JOSÈ prepares their sandwiches on hero bread.
JOSÈ
Frank, you want mayo or mustard?
FRANK PRINZE
Mayo.
JOSÈ
How about you Manny?
MANNY
Mostaza.
(Mustard.)
Cruz has come from the back of the bodega with a broom and starting at the front of the bodega sweeps up. Frank and Manny are in front of the refrigerator that JOSÈ is preparing the sandwiches at drinking their sodas. On the window opposite the counters we see the grocery across the street close for the night. Once the employee leaves the street is deserted. A strange silence fill the air. By now Cruz is near the middle of the bodega and JOSÈ is cutting the newly made sandwiches in two.
FRANK PRINZE
Man, thanks. That looks good.
Frank and Manny take the sandwiches from the counter top and eat. They practically inhale them. Sandwiches finished Frank Walks over to the counter where JOSÈ is bent over cleaning up the deli. Walking between the space of the deli refrigerator and the main counter Frank ask JOSÈ who turns to look at him...
FRANK PRINZE
Hey Toñin could you give me some money?
JOSÈ
Mira Frank, ya te saque de la carse, y ahora te di de comer. No te voy a dal dinero para despeldisal en dr**as.
(Look Frank, I got you out of jail and I just gave you to eat. I'm not about to give you money to waste on drugs.)
This angers Frank and as JOSÈ turns and continues his work Frank motions to Manny to go to the back of the store. Frank then pulls out a 22 caliber pistol.
FRANK PRINZE
¡Bete pa el demoño!
(Go to hell!)
He fires off six shot into JOSÈ back. Stunned JOSÈ hits his head against the top of the refrigerator. Manny too has taken out a weapon so when Cruz come running from the back of the bodega shows up, he's got a gun at his nose.
MANNY
Get the f**k into the freezer!
CRUZ
Pero...
MANNY
Get the f**k in.
Cruz opens the walk-in freezer's door and Manny pushes him inside landing Cruz onto the floor. From the outside Manny locks the door and snaps on a lock, that is hanging from the handle locking Cruz inside. From the inside Cruz tries the door only to have Manny pump two shots threw it. Cruz takes cover behind a rack while Manny look through a bullet hole.
CUT TO:
INT. SAME NIGHT SAME TIME
Toñin is now fighting with Frank. Bleeding he's got Frank by the neck punching him across the face. Franks manages to push JOSÈ off and in the process knocks down a self-standing display of caned goods all over the floor. When Frank gets up he slips on a can and falls. JOSÈ is down but, a adrenaline burst kicks in and he goes towards Frank punching him in the face knocking him unconscious. then Manny emerges from the back and makes a bee-line for the cash register. Pushing the keys he opens it and inside he takes the money.
MANNY
That's it? You've got to be kidding me.
At the sound of the opening register JOSÈ turns around seeing Manny holding the money. Once again adrenaline kicks in and JOSÈ grabs Manny's leg and knocks him down to the ground.
JOSÈ
¡Hijo de p**a! Ay, carajo!
(Son of a bitch! Ah, p***y!)
Falling, Manny looses the gun as it flies to the back of the bodega. JOSÈ sees the blood all over the floor and looking behind, at his back, he sees the blood flowing. The adrenaline is still pumping JOSÈ, manages standing but, looses his balance and falls against merchandise shelving. He grabs it trying to prevent his fall only to spill its contents all over the bodega and smashes into the window shattering it. The loud noise of the breaking glass alerts some neighbors across the street. Lights go on in three apartments on the north side of the block.
EXT. SAME NIGHT SAME TIME
Opening the window to an apartment a middle aged black woman hangs out. Behind her is a man about her age. Seeing the commotion she picks up the telephone.
WOMAN
Look Harry, there killing JOSÈ! Oh my God.
Reaching the Police, she's yelling into the phone...
WOMAN(CONT'D)
men are beating on the owner of the store and he's laying on the street. Hurry up they're killing him., yes, the store on 103rd and Amsterdam. Hurry! For God's sake, hurry!
JOSÈ
Ah s**t! How could you do this to me Frank? You mother f....
Frank comes too and looking around for his gun he slips again knocking his head against the fallen shelves. By now, Manny is getting up as is JOSÈ. The struggle continues all the time pushing Frank towards the front door. Manny's grabbed a steel pipe and pushes Josè out of the store. Thrust forward the pipe slips out of Manny's grip.
EXT. SAME NIGHT SAME TIME ON THE CITY'S STREET AT THE NORTH WEST CORNER OF 103RD AND AMSTERDAM AVENUE.
Turning around JOSÈ and Manny are slugging it out and it appears that JOSÈ's got the drop on Manny when, from the inside of the store, Frank exits spotting a steel plumbing pipe in the gutter, picks it up. Turning, he swings the pipe but, misses his mark hitting Manny on the arm instead.
MANNY
F**k man! Hit him, you as***le!
Just then JOSÈ lands another punch knocking Manny to the pavement. Turning around JOSÈ see Frank take a swing but, this time Frank, with a thud, find his mark. JOSÈ goes down hard.
FRANK PRINZE
You prick! I'll show you!
Frank strikes JOSÈ repeatedly until he open Josè skull from one ear to the other. Police sirens are now in the air.
JOSÈ
Ay Dios.
With that JOSÈ fall motionless to the pavement which is covered in snow...
FRANK PRINZE
There; you c**k sucker!
FADE TO BLACK

INT. MIDNIGHT MARY'S APARTMENT AT MANHATTAN AVENUE
In a long dark hallway lighted by the living room window at the other end MARY and the boys are awaken by a knock. The low rumble of traffic and city sounds floats in. Everyone is asleep. Bang, Bang, Bang...A light comes from MARYs' bedroom next to the front door. Another light comes on halfway down the hallway. You can see both Jimmy and Butchie in their pj's step into the hallway.
VICTOR VO
It me Papo.
MARY
Papo. Que..
She opens the door. The stairwell's light illuminates her face.
MARY
But what are you doing here so late?
With Victor still standing in the stairway and MARY at the opened door. Jimmy's standing in darkness on the other end of the hallway...
JIMMY
Papi is dead.
Victor in shock...
VICTOR
That's right MARY.
Turning to Jimmy...
VICTOR
Jimmy how do you know?
Shock registers on MARY's and Butchie's faces.
JIMMY
I just do. Just do....
TITLES COME UP