Jimmy The Bartender Action Packed Espionage Thriller (1/3)

By Jeff Dejent

Jimmy The Bartender Spies & Politics Thriller (1/3)
Keywords: Fiction, Thriller & suspense, Spies & espionage

Jimmy the Bartender, opens at the funeral for Giuseppe Baldigiani, aka, 'Jimmy the Bartender'. Candy Gotella and her boyfriend Lonny, make an appearance at the front doors of the Noviziato Funeral Home under the watchful eyes of a DEA surveillance team. Derek Peters, formerly Dominick Piacoli, turns them away. He explains the entire Mustalaro crime family holds her brothers, Bobby and Phil responsible for Jimmy's death. While Candy Gotella blushes in shame, Chuck Burke, a Special Agent in the Drug Enforcement Administration schemes. Chuck needs a scapegoat. One of his agents is dead, another man out on permanent disability. How better to handle the situation than to pin the blame on Andy Howell, an Action Officer in the Central Intelligence Agency?

In Bogota, Alberto Enrique Nayari and his super model wife Angelina struggle with the hurt and shame of the violent deaths of their two wayward sons- Theodore and Francesco. While they cope, Ali Leon, the sole survivor of the Ricky Sinaloa drug gang, makes good his escape from prison out the back doors of a hospital. Nick Castelli was a 'go to' person in the Mustalaro crime family during the 1980's but now finds himself pushed off to the side by much younger men. What is he to do? Nick and Lonny break into an evidence locker. They recover the cash and the cocaine from the drug deal that cost Jimmy the Bartender his life. Next, the two men lay plans to journey to Bogota, intent on avenging Jimmy's death.

Don Alberto Nayari decides to run for public office. He thinks he can win the senate seat in the Cundinamarca District, the 'Condor's Nest' of Columbia. While he maps out a campaign strategy the Sixty Minutes news team steps gingerly onto the scene. Steve Crofts speaks with Chuck Burke and Ali Leon. Ed Bradley journeys to South America where he interviews the Don and Dona Nayari at their family estate in Bogota.
Then following Ed speaks with a forensic pathologist. Although the death certificates issued on the Don and Dona's sons in the United States- Theodore and Francesco, read- 'Legal Homicide', the Pathologist in Bogota thinks otherwise. He argues the evidence into a planned assassination. Killings brought about by the Central Intelligence Agency, as a prelude to the execution of Don Alberto Enrique Nayari.

Andy Rooney has the last word. He sides with the men in the Central Intelligence Agency. Andy's observation, the White House issued a directive forbidding assassinations all the way back in 1981. EXECUTIVE ORDER 12333 “Prohibition on assassination. No person employed by or acting on behalf of the United States government shall engage in, or conspire to engage in, assassination.” By Jeff Dejent in association with Dynamic Entry Productions, LLC

Keywords: Fiction, Thriller & suspense, Spies & espionage

• Language: English
• Publisher: Jeff Dejent
• Release date: Jan 15, 2015
• ISBN: 9781940028392

Jeff Dejent

Jeffrey Dejent grew up and went to school in Milwaukee Wisconsin. He graduated from college in June of 1970. Away from the keyboard Jeff likes to ride bicycles and go jogging. When it snows he dabbles in things like software defined radio and computer hacking. Jeff welcomes comparisons / criticisms of his novels and screenplays against the works of the late greats Stephen J. Cannell, Mister Tom Clancy, and of course Mister James Patterson. He would be happy to ghostwrite for one of the big names in the industry. Problem is, the lines are so long, you have to take a number. If you cannot find anything new by Tom Clancy or James Patterson, you should give Jeff a try. If your favorite television shows include: Criminal Minds, NCIS, and Numbers, you will enjoy Jeff. Jeffrey Dejent, Novelist, Screenwriter, in association with: Dynamic Entry Productions. LLC

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JIMMY THE BARTENDER

Action Packed Espionage Thriller (1/3)

By: Jeff Dejent

This novel published by an arrangement between:

Jeffrey Wayne Dejent

and

Dynamic Entry Productions, LLC

Copyright © 2013

Smashwords Edition

Smashwords Edition, License Notes

This e-book is licensed for your personal enjoyment only. This e-book may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. If you’re reading this book and did not purchase it, or it was not purchased for your use only, then please return to your favorite e-book retailer and purchase your own copy. Thank you for respecting the hard work of this author.

JIMMY THE BARTENDER Action Packed Espionage Thriller (1/3) is a complete work of fiction. All the characters are fictitious. Any resemblance to actual persons living or dead is entirely coincidental. The names, incidents, remarks, and opinions expressed by the characters are out of the author’s imagination. They must not be construed as real.

JIMMY THE BARTENDER Action Packed Espionage Thriller (1/3) is a work of historically correct fiction. While the characters, scenes, and events in the storyline are entirely the product of the author’s imagination there are off stage references to real people and real events. In select instances, public figures from the media have speaking roles as for example, Ed Bradley, Steve Crofts, Andy Rooney and Dan Rather.

These men have no direct involvement in the plot. Yet they serve the narrative well as commentators, leavened into a chapter here and there, to clarify details and sharpen dramatic tension. The author begs forgiveness for this trespass. He reminds if it were not for literary license, there would be no literature.

Dynamic Entry Productions, LLC acknowledges the trademark status and trademark owners / holders of various products and services and intellectual properties referred to or mentioned directly in the text. The publication, the use, the mention of these trademark items in this work is: (1) neither authorized (2) nor associated with (3) nor sponsored by the owners / holders of these trademarks.

Nothing in this book is an expression or representation of the views or policies of any agency within the United States Department of Defense. Nothing in this novel is an expression or representation of the views or policies of any government agency in the United States or any government agency of any nation in the world.

JIMMY THE BARTENDER Action Packed Espionage Thriller (1/3) is for mature audiences, age 18 years and up. The narrative includes a number of detailed action adventure and hugging and kissing scenes.

Images-

Photographic images on the cover and in the body of the manuscript are for the sole purpose of illustration. They do not advertise. Each picture falls within the Public Domain category. Our graphic design artist removed military markings from pictures of military vehicles, aircraft, and uniforms with the use of the clone tool in GIMP. In the rare instance when a human face turns towards the camera, our graphic design artist completely obscured his identifying features. For source credits and license information, see the appendices at the back of the book. Icons are from the Open Clip Art Library, a public domain source for high quality images.

Printing History-

The novel: JIMMY THE BARTENDER Action Packed Espionage Thriller (1/3) published by an arrangement between Jeffrey Wayne Dejent and Dynamic Entry Productions, LLC Copyright © (USA) 2013

ISBN: 978-1-940028-39-2

All rights reserved. This work is available in the electronic book reader format. As a 6 x 9 inch trade paperback, Jimmy the Bartender would be 245 pages long (79,784 words).

No part of JIMMY THE BARTENDER Action Packed Espionage Thriller (1/3) may be reproduced or transmitted in any form, by any means, mechanical or electronic, including photocopying, recording, or by any information storage and retrieval technology, without written permission from Dynamic Entry Productions, LLC. Brief passages may, however, be cited for the purpose of critical review. No part of this work may be translated into any other language without written permission from Dynamic Entry Productions, LLC. No part of this work may be marketed in a foreign country without written permission from:

Dynamic Entry Productions, LLC | Terre Haute Indiana 47802-5422

All three volumes of the PEOPLE OF THE SUN trilogy are available bound as a single 7.44 by 9.69 inch trade paperback (634 pages, 235,547 words | ISBN: 978-1-940028-32-3).

Dedication-

The author dedicates the PEOPLE OF THE SUN trilogy to the memory of Father Oscar Romero (15 August 1917 - 24 March 1980), Archbishop of the Catholic Church in San Salvador. Father Romero delivered a sermon against repression of the people on the 23rd day of March in the year 1980. He was martyred on the following day.

In Foxe's Book of Martyrs we read:

"Let us draw near to the fire of martyred Lawrence, (Father Oscar Romero) that our cold hearts may be warmed thereby. The merciless tyrant, understanding him to be not only a minister of the sacraments, but a distributor also of the Church riches, promised to himself a double prey, by the apprehension of one soul.

First, with the rake of avarice to scrape to himself the treasure of poor Christians; then with the fiery fork of tyranny, so to toss and turmoil them, that they should wax weary of their profession. With furious face and cruel countenance, the greedy wolf demanded where this Lawrence had bestowed the substance of the Church."

Father Oscar Romero (1917 - 1980)

"Then valiant Lawrence, (Father Oscar Romero) stretching out his arms over the poor, said: These are the precious treasure of the Church; these are the treasure indeed, in whom the faith of Christ reigneth, in whom Jesus Christ hath His mansion-place. What more precious jewels can Christ have, than those in whom He hath promised to dwell? ... What greater riches can Christ our Master possess, than the poor people in whom He loveth to be seen?

The word was no sooner spoken, but all was done. After many cruel handlings, this meek lamb was laid, I will not say on his fiery bed of iron, but on his soft bed of down. So mightily God wrought with his martyr Lawrence, so miraculously God tempered His element the fire; that it became not a bed of consuming pain, but a pallet of nourishing rest.

Pages: 14 - 15 | www.jesus.org.uk/vault/library/foxes_book_of_martyrs.pdf

PEOPLE OF THE SUN One Table of Contents

CHAPTER 1 A FUNERAL FOR JIMMY THE BARTENDER

Scene 1 How Is It Going On The Cordless Phones?

Scene 2 You Two Ain't On The Guest List

Scene 3 Nick Castelli Demands To Be A Pall Bearer

Scene 4 Boardwalk And Park Place Too Lonny?

Scene 5 Candy And Lonny Look In On Jimmy's Burial

Scene 6 Stanley Craypool Shows What He Can Do

Scene 7 Planting Microphones In A Restaurant Dining Room

Scene 8 The DEA People Make Ready for Jimmy's Wake

Scene 9 Umberto Carranza Says Goodbye To Jimmy The Bartender

Scene 10 Are You Getting Anything Worthwhile Stanley?

Scene 11 Nick Castelli Gets A Word In With The Don

Scene 12 I'm Home Ma!

Scene 13 Candy Has A Record Player In Her Bedroom

CHAPTER 2 ANDY HOWELL'S LEGAL PROBLEMS

Scene 14 Got Some Papers For You Major Howell

Scene 15 Did Knowingly Fashion A False Identification Card

Scene 16 Did then use a Surreptitious Listening Device to Identify the Domicile Housing Persons Merely Suspected of Having Committed the Felonious Acts

Scene 17 As by his Negligent Method of Arrest and with His Own Firearm

Scene 18 Andy Needs A Second Opinion

Scene 19 The Alleged Perpetrator Did Suffer Firearms Injuries

Scene 20 Psychiatric Testimony is Unimpeachable Andrew

Scene 21 Andy Gets The Benefit Of A Second Medical Opinion

Scene 22 With the use of an Incendiary Explosive Device Stolen with Intent and Malice of Forethought From a Small Arms Weapons Locker

CHAPTER 3 A PATHWAY FOR MY PEOPLE

Scene 23 Are You Coming Alberto?

Scene 24 May I Be Of Assistance Don Nayari?

Scene 25 Have You Two Decided?

Scene 26 The Dining Room Table Audition

Scene 27 Angelina Is Free To Choose

Scene 28 Gridlock On The Avenidas Of Bogota

Scene 29 Don Nayari Lays Out His Six Point Plan

Scene 30 Mister Ali Leon Deals With Prison Life

Scene 31 Through The Doors Of The Emergency Room

Scene 32 Ali Leon Master Thief Stumbles Upon An Accomplice

Scene 33 Ali And Cherise Recruit Funds For Their Trip To Los Angeles

Scene 34 Light Of The Morning Don And Dona Nayari Speak To The Catholic Audience

CHAPTER 4 IN THE AFTERMATH OF JIMMY'S FUNERAL

Scene 35 It's Nice That You're Right On Time

Scene 36 The Federal Court Order. Can They Really Do That?

Scene 37 Candy Gotella Pays A Visit To Nick Castelli

Scene 38 Nick Takes Lonny Under His Wing

Scene 39 Candy Gotella Prepares For A Job Interview

Scene 40 Gourmet Dining With Don Jerry All You Gotta Do!

Scene 41 Nick And Lonny Make Use Of Background Music

Scene 42 All They Got Here Is Bicycles And T. V. Sets

Scene 43 A Two by Four Ain’t A Burglary Tool

Scene 44 Targioni Barberini Has A Three Car Garage

CHAPTER 5 ON THE CAMPAIGN TRAIL WITH DON NAYARI

Scene 45 Mapping Out Campaign Strategies

Scene 46 Cherise Di Lorianne Looks In On Her Mom

Scene 47 Steve Crofts Interviews Chuck Burke Of The D.E.A.

Appendix A Image Sources and Photographer Credits

Appendix B Image Permission Statements

CHAPTER ONE: A FUNERAL FOR JIMMY THE BARTENDER

Scene 1 How Is It Going On The Cordless Phones?

Location: Surveillance van near the Noviziato Funeral home, Philadelphia Pennsylvania

Charles L. Burke, Chief Special Agent of the Arlington Virginia Station, Drug Enforcement Agency, is in an especially foul mood. Small noxious stimuli are beginning to irritate him. As, for example, the air inside of the surveillance van, which is close and tainted by the smell of a dashboard ashtray overflowing with stale cigarette butts. Even worse, the muscles in his back feel like they are on fire. A condition brought on by the fact he has been sitting on top of an upside down plastic bucket, for a little more than three hours.

Over and above the physical stimuli, a self-perceived goad weighs heavily upon Burke's mind. Chuck Burke is one of those people who are over conscious of each step in their career. Simply put, Burke does not want to be in Philadelphia as a sworn officer in the D.E.A. Not on a temporary duty assignment, as he is right now, most certainly not on a permanent assignment in the near future. As the Washington higher ups have hinted he might be in the not too distant future. For you see - in Burke's mind all locations outside of our nation's capitol, excepting of course New York City, are nothing more than ..... Podunck

More coffee Chief? Offers Special Agent David Parente to the visiting Chief with a thermos in hand and a genuine and genial tone to his voice.

Nah. Replies Chief Burke, over brisk. No telling when we're gonna get a chance to stretch our legs.

Stanley Craypool sits next to the Chief, on his right hand side, off and away from Mister Parente. Mister Craypool is an Electrical Engineer at the Grand Corporation, a 'think tank' in Washington DC. Stanley is on loan to the Drug Enforcement Agency people in Philadelphia through his contacts at the Central Intelligence Agency in Langley Virginia. In spite of his many diplomas, in spite of the fact he is a recent recipient of the R. V. Jones Award. Mister Professor Craypool sits cross-legged and content on the bare metal floor of the van.

While Chief Burke cranes his head and neck to see out the mirrored back door windows of the van without being seen by the people outside. Mister Craypool sits face to face with a set of rough-hewn wooden shelves. Working the dials and switches on a set of six scanner radios out of his personal collection of more than a dozen specialty type radio receivers.

Craypool, in contrast to Burke, exudes an air of adventure rather than irritation. He finds himself excited by an assignment taking him out of the confines of his window less office at the Grand Corporation.

Better still, Stanley is in his element. Mister Craypool is surrounded by men of action who will not get anywhere at all without his help and his advice. Smiling, in an expansive mood and a voice to match, Stanley turns towards the Chief and says.

I locked out channel nine on Citizen's Band, Mister Burke. Not very likely they would coordinate a funeral on a public distress frequency. ..... Would they?

Burke ponders, motionless and silent, on the political consequences of either approving or objecting to Craypool's decision. His decision is to look the other way and pretend he did not hear the question. Stanley's hand hovers over his radios while Special Agent David Parente nods and smiles at Stanley from his perch on a canvas campstool up against the rear doors of the van. Just then, a lull occurs in the pedestrian traffic in front of the funeral home. Parente transfers his gaze from the mirrored rear window of the van down to Stanley.

How is it going on the cordless phones, Stanley? Are you getting anything?

Stanley's first response to Agent Parente is a frustrated frown. A moment later, he sweeps a pair of black earphones off his head. Next, he pulls a plug from the sound output jack on the radio most near to Chief Burke's knee. Mister Craypool twirls the volume knob on the machine one way and the squelch setting the other. Soon the bare metal walls of the van echo to the sound of a female voice speaking in a dull monotone.

What is that supposed to be? Asks Burke, in the sharp voice he reserves for underlings.

Craypool remains cool and calm, he is unperturbed by Burke's hostile banter. The Electrical Engineer smiles up at the man on his left and replies:

Sounds to me like a teacher's aide or secretary. Reading out page assignments in an algebra book to the mother of a sick kid.

David Parente leans forward on his campstool to pick up on the low fidelity conversation coming across the speaker of one of Stanley's radios. In his haste, he nearly drops a large photo album off his lap.

Mister Parente is just as interested in cordless phone gossip as Stanley Craypool. He knows, from long personal experience, the conversation might turn in a useful direction.

Are you hearing anything that sounds like a funeral parlor? Inquires Parente of Craypool.

Stanley shakes his head and bites his lower lip. Then he twists around to his left and makes eye contact with Parente.

Stanley says.

Just female chatter. The voices keep coming back to the same channels as they make one call after another. But nobody's used the word Noviziato or Baldigiani. Not since we got here.

A worried look spreads across David Parente's dark brown eyes. In a thoughtful voice, he asks.

What if you ran the handset channels on another one of the radios, Stanley? Wouldn't you get more?

I could do that. Replies Stanley in a reluctant voice. But it would mean giving up scanning the GMRS frequency band. And the guy out there under the awning has a handheld.

Chief Burke's head swivels back and forth, as he follows the conversation between Craypool and Parente. The Chief decides it is time for him to take command of the situation. He twists around on the bottom of his tan plastic bucket, to get a better view of the lighted dials on the front of each one of the scanner radios. Now he is perched to select frequency bands for Stanley to monitor. The Chief raises a hand! The Chief is about to issue an order!

Owwww! Cries the Chief, as his face fills with disgust and anger. What in the hell was that, Craypool?

Stanley looks up at the Chief. He sees Burke rubbing his left hand on his neck. Then he glances towards the ceiling of the cargo van, where he spies one of his expensive discone antennas rocking back and forth on its shelf mount. Stanley raises his left hand to steady the antenna. Then - in a very polite voice, he explains.

You banged into a discone antenna Mister Burke.

Burke brings his hand down from his neck and stares at the palm. No fresh blood anywhere, but the superficial nature of his injury is no brake to his ire.

The muscles in Chief Burke's wiry body go tense and stiff. In a barely concealed rage, he growls.

What in the hell are you talking about? What's a disco something doing in a surveillance van?

Stanley feels protective towards his antenna farm the way a father feels towards his son's first bicycle. Moreover, he has just about had enough of the bullying manner of the Chief. First off, Stanley sits straight up. With his right hand, he tightens the small carpenter’s c clamp, securing his precious antenna against the tallest wooden shelf in the stack.

Next, the Grand Corporation Electrical Engineer inspects the resonators on his expensive discone. An antenna that looks like nothing so much as an umbrella with the cloth fabric stripped away. Once satisfied the Chief's awkward motion caused no permanent damage to the thin metal tubes. Craypool falls back onto his back seat pockets. Then he swivels on his haunches, glares up at the Chief, and says angrily.

Disco nothing meathead! Discone antenna! Discone. You bend or kink a tube and we lose maybe a whole frequency band!

Burke is ill prepared for a hostile response from a 'think tank egg head'. He slides towards his right on the bottom of his bucket seat. The Chief ignores Stanley. He confronts David Parente in a bureaucratic horn to horn. In a flat voice, the Chief says.

Crap hole here is a real discipline problem, Parente. Major. Number one. We don't put up with guys like this in Washington.

David Parente feels reluctant to take his gaze away from the mirrored rear window of the surveillance van. It is crystal clear an incident report might be the outcome of the morning's squabble. In sharp contrast to Chief Burke, Parente likes the company of technology nerds.

Parente bites his lower lip, what to do? Drug Enforcement Agency Agent David Parente turns slowly and leans towards the Chief. His squared off Italian heritage eyebrows knit up in a gesture of concern. Very, very politely he explains.

Stanley Craypool is on loan to us from the Grand Corporation. His bosses are fishing around for federal grants. Forensic this and forensic that. That's what they told me.

Chuck Burke leans back on his tan plastic pail and sighs. He rubs his neck with the palm of his left hand in a still angry manner. The Chief opens his mouth to speak. He is spoiling for a fight. Just then, Bob Terrano sits bolt upright on the canvas campstool in front of the stool occupied by Parente. Terrano brings his binoculars up off his lap in a single swift motion. He screws the oculars into his eye sockets with a good deal of urgency. Last, he works the focus knob on the bridge between the tubes and exclaims.

We've got some fresh pedestrian traffic!

Agent Parente twists his solid frame towards the scene out of his window in the back door of the van. He brings his own pair of binoculars up for a look at the outside world. Parente smiles, his eyes sparkle. It is a good thing something outside the van ended the argument between the Chief Special Agent and the 'Egg Head' Electrical Engineer.

For a few long moments, Parente studies the people who just hove into sight up at the corner of the street. First off, he takes note of a man and a woman with two small children walking between them. Then he sees another man walking hurriedly and all by himself towards the entranceway of the funeral home. This man has his hands thrust deep within the pockets of his overcoat. He wears a fedora hat pulled down to the bridge of his nose.

Parente makes a careful study of the faces on the street. He needs to fix their unfamiliar features in his mind. The D.E.A. Agent lowers his binoculars. He turns his attention to the pages of the thick photo album resting on his knees. After a bit, his shoulders slump and he lets loose with a sigh. To Burke, Craypool, Terrano, and Banez, the swarthy man napping in the driver’s seat until Burke got angry with Craypool, he announces.

Not one single picture. Nothing.

Just as Parente goes back to his binoculars, Chief Burke leans towards the rear of the van. Without a word, he presses his right eye against the ocular at the back of a thirty-five millimeter camera standing at his knees on a tripod.

With his left hand, Burke twirls the tube of the telephoto lens. Soon the 'unknown subjects' on the sidewalk are in sharp focus in his viewfinder.

With his right hand, Chief Burke alternates between squeezing the shutter and working the film advance lever. First, a gentle pressure with his index finger on the shutter button, then a sharp jab at the film advance lever with his thumb.

Once he's satisfied he has enough pictures, Chuck Burke's mind begins to roam. Soon a lustful voice startles the other men in the van. Chuck remarks.

Look at the front porch on that broad! All the way out through a coat! I thought Philadelphia rolled up the streets at night, Parente!

Parente and Terrano shake with laughter as the chief gives vent to his ribald fantasies. Both their faces go beet red. Ricky Banez, the driver of the surveillance van turns around to take part in the conversation. Mister Banez brings both hands up on the front bucket seat backs to steady himself. Banez goes wide-eyed at the sight of the amply endowed maiden walking towards the front door of the funeral parlor. He takes his ball cap off, tosses it up onto the dashboard, and lets out with a whistle.

Stanley Craypool gets up on his knees. He glances tentatively out the back windows. What he sees over the heads of Parente and Burke causes him to freeze up like a deer in a set of headlights. In spite of the shooting pains in his knees from the ribs in the floorboard of the surveillance van. Craypool's eyes go wide open at the radiant blond beauty of the woman in the black coat. Stanley brings the knuckles of his right hand up to his mouth. His head moves slowly, almost with reverence, from left to right.

Oh my God! whispers Stanley Craypool, electrical engineer on loan from the Grand Corporation to the Philadelphia Bureau of the Drug Enforcement Agency. Oh my God! Look at those knockers!

Scene 2 You Two Ain't On The Guest List

Location: Entrance doors of the Noviziato Funeral Home, Philadelphia Pennsylvania

Candy Gotella squeezes the collar of her mother's tailored black coat around her throat against the chill winds of a harsh day in the month of April. The breezes whip her softly curled blond hair into disarray. She decides to ignore the damage to her otherwise perfect appearance. Candy Gotella reaches down to take the hands of her children, Adam her seven year old, and Melissa who just turned five. Instead of running her fingers through her hair. Candy looks directly into the soft brown eyes of Adam and Melissa. Her voice brims with maternal concern and pride. She softly says.

"Don't let go of Mommy's hand. Not till we get all the way under