JIMMIE GOES TO NEW YORK… ALMOST BASED OFF A TRUE STORY
JIMMIE GOES TO NEW YORK… ALMOST BASED OFF A TRUE STORY
BY
DARRYL E. GOODNER
AND
DAVID A. HODGE
David A. Hodge
hm: (424) 456-4998
cell:(323) 399-4681
calyastro@
4090 El Segundo Blvd. #6
Hawthorne, CA 90250
Darryl E. Goodner
(424) 207-6444
darryldagood@
8655 Belford Ave. #C123
Westchester, CA 90045
EXT. THE EVPRAKSIYA COMPUND – NIGHT
Snow lightly drops from the sky covering the streets. It’s a hallmark winter night. A moving truck is across the street from DIMITRI EVPRAKSIYA’s Compound.
INT. THE MOVING TRUCK
Inside the truck is an F.B.I. surveillance setup. F.B.I. Agent Manny Vickers is checking on the cameras slowly going to sleep, waiting for his shift to end. The driver’s side door opens and in comes Agent Jessica Tanner.
AGENT TANNER
Holy Cave Juice it’s cold out there.
AGENT VICKERS
Cave juice?
AGENT TANNER
Oh yeah, this guy I’m seeing refers to my vaginal fluids as cave juice.
AGENT VICKERS
How the fuck did that come up?
AGENT TANNER
He’s a prude; he wouldn’t go down on me so I didn’t give him any right?
AGENT VICKERS
(A little uncomfortable)
Yeah.
AGENT TANNER
So he gets all pissed. The fucker actually wanted me to suck him off, and he had the nerve not to go down on me. I mean I had the best looking vagina of my sorority, and he won’t go down on me. I even played around with it before we got started, you know, as a little incentive.
Agent Vickers is extremely turned on and now wants to just stop the conversation.
AGENT VICKERS
I don’t want to talk anymore.
AGENT TANNER
Why?
EXT. THE EVPRAKSIYA COMPUND
While the two F.B.I. Agents talk out there issues a white van drives down the street, past the moving truck and down the block to enter the compounds entrance undetected by F.B.I. surveillance.
INT. THE MOVING TRUCK
As Agent Tanner continues on about her vagina Agent Vickers picks up noise on the bugs planted in the house.
AGENT VICKERS
Wait!
Agent Tanner shuts up and rushes to the recording system to listen in on the compounds inner activities.
AGENT TANNER
(Whispers)
Five bucks they remember.
AGENT VICKERS
(Whispers)
Quite.
AGENT TANNER
(Whispers)
Come on five bucks.
AGENT VICKERS
(Whispers/agitated)
Shut the fuck up!
A second later static is heard on the headset.
AGENT VICKERS
Ah shit!
AGENT TANNER
Hah, fuck you they beat you again.
AGENT VICKERS
You’re an idiot!
INT. THE EVPRAKSIYA COMPUND UNDERGROUND CAR PORT
The white van comes down a ramp and parks next to an expensive vehicle. Yuri, a henchman for the Russian Mafia, jumps out of the passenger door and opens the side sliding door. Inside the van waits two Police Officers and a man with a potato sack over his head. Officers Wallace and Maynard escort the man with a sack on his head out of the van. Viktor, the driver, comes around the back of the van and stops the officers while Yuri takes their guest to a large rack of tools on the other side of the car port. He grabs a crescent wrench laying on the counter of the rack and turns it ninety degrees to the left then backs away from the rack. The tool rack slowly moves to the right revealing a secret passage leading down into a basement.
VIKTOR
Come with me to boss’s office.
INT. DIMITRI’S OFFICE
Viktor sees in the two Police Officers into the room.
VIKTOR
Mr. Evpraksiya will be with you shortly.
Both Officers nod their head and have a seat at Dimitri’s desk. Viktor leaves the room.
The Cops are quite for the first few seconds. The room is filled with antique items; the books on the book shelf have a vintage look to them. There is a grandfather clock behind the two Officers, almost as if it were a representative of Death.
OFFICER MAYNARD
What do you think they are doing to him?
OFFICER WALLACE
Right now, nothing. Once Dimitri pays us they’re probably going to go to work on him. Then it will be up to homicide to figure out how he died, that is if they even find what’s left of him after Dimitri is done ripping him apart.
OFFICER MAYNARD
You think there’s going to be a war?
OFFICER WALLACE
No doubt. What I want to know is what the Italian’s are going to do next, because you know they don’t just strike once.
Just then an older gentleman, Dimitri, enters the room, wearing a dark purple silk robe a lot like Hugh Hefner. Both Officer’s stand in respect, or fear.
DIMITRI
You’re right, they don’t just strike once. But you mustn’t concern yourselves with this. Because it’s time to get paid, you have lives of you own, wives who worry about you, Tom,
(To Officer Wallace)
how is you’re wife?
OFFICER WALLACE
She’s fine she sends her love, and she loves the coat.
DIMITRI
Good, good. Now, you know I have important things to do just like you. So here is a little bonus for this killer you have brought me.
OFFICER MAYNARD
Thank you Mr. Evpraksiya.
DIMITRI
Please, call me Dimitri.
INT. THE EVPRAKSIYA COMPUND UNDERGROUND CAR PORT
Dimitri walks the two officers over to the van. Viktor is guarding the secret passage to the basement.
DIMITRI
If you two hear anything more about the Italian’s…
OFFICER WALLACE
Don’t worry Dimitri well let you know.
DIMITRI
Very good. Enjoy the rest of your shift Officers.
OFFICER MAYNARD
We will, thank you sir.
Yuri escorts the two Officers into the side of the van and closes the sliding door. He walks around to the other side of the vehicle and hops into the driver’s seat and drives the van out of the car port.
Dimitri waits for the van to leave before turning his attention to the secret passage. He slowly walks over to the entry with calm and poise.
INT. SECRET BASEMENT
Viktor follows Dimitri into the basement. There is a very cold precision about Dimitri as he walks down the narrow column of stairs.
The first noticeable object in the room is the man with a sack on his head sitting slumped over into chair, ropes holding his limp body up.
The room is surprisingly large. Along the wall to the left is a large weapons depot, for when the compound is raided and the Russian’s need a little extra protection. To the back and right of the room from the entry are various weapons used for interrogation and torture. There are a couple of chrome medical carts with surgical instruments to take care of any wounded henchmen, used by Dimitri’s on call doctor.
To the left of the slumped body is a dentistry chair and to the left of that is a flat chrome table. Both furnishings give an eerie chill of what happens on them.
Dimitri walks to a black supply cabinet to his right and pulls out black rubber gloves that cover his forearms.
Viktor walks behind the man in the chair and waits while Dimitri prepares himself. Dimitri grabs a chair and drags it across the floor creating a noise that wakes up their Guest. His head begins moving around in the sack slowly.
The chair is planted three feet from the Guest. Dimitri sits and looks and the him for a moment. Taking in a noticeable breath he then nods to Viktor.
Viktor removes to sack from their Guest’s head. He removes the duct tape wrapped around his mouth, while Dimitri gets a good look at him. The guest just stares back while his mouth his being freed. A moment passes between the two of them and then Dimitri begins speaking in Russian.
DIMITRI
(In Russian)
You know, I was surprised to find out that you were Russian. Was it easy killing a sister of your homeland?
The Guest just stares back at Dimitri.
DIMITRI
(In Russian)
So are you some kind of tough guy? Do you like working for the Italians?
The Guest just stares back at him.
DIMITRI
(In Russian)
Or are you so weak that you can only kill women?
The Guest shout’s out in Russian.
GUEST
(In Russian)
Fuck you!
Dimitri laughs for a moment.
DIMITRI
(In Russian)
Ah, good he speaks. I was beginning to wonder if my men had disobeyed me and cut out your vulgar tongue before I had had a chance to talk with you.
The Guest is once again silent.
DIMITRI
(In Russian)
Such vulgarity too, I guess being Americanized you have come to use sentence enhancing words such as those, meanwhile not even realizing you have thrown away your manners. You disrespect your parents so.
The Guest remains quite. Dimitri begins speaking in English.
DIMITRI
How did it feel anyway?
The Guest remains silent.
DIMITRI
You know, killing my wife?
There is a brief silence in the air, the last words marking the Guest with slight dread. The Guest looks away from Dimitri.
Dimitri looks up at Viktor. Viktor grabs the Guest’s hair and forces him to look at Dimitri.
Dimitri leans forward.
DIMTRI
You shouldn’t feel ashamed at what you have done to my family.
Dimitri stands up and begins walking slowly around the room.
Viktor lets go of the Guest’s hair.
DIMITRI
After all, Italians wanted her dead for some time now. Three years I have been married to that beautiful woman. I was greatly infatuated with her, she was going to be the last woman for me. And you are the one who will receive the bounty on my wife’s death.
THE GUEST
I do not believe that I am in a position to claim anything.
DIMITRI
Ah one would think that in a third person perspective, yes. You should die for doing what you have done to me. Or maybe you should be rewarded for what you have done, for me.
THE GUEST
Excuse me?
DIMITRI
Did you happen to notice the moving truck across the street from my estate, oh no wait,
(Laughs)
You were wearing potato bag over head as you came yes. Regardless there is moving truck across street, F.B.I. surveillance. Only just recently did they come back to listen to my conversations with my men. When they stop coming before I was worried, I also realized that wife was gone longer for shopping. A little investigation later turns out wife was turning states evidence into F.B.I. My demise was complete until you, beautiful man, came into my life and got rid of problem for me.
The Guest starts to believe that he could possibly get out of this alive.
DIMITRI
But, the deed you have done was not for my benefit, but for enemy’s benefit. So I am now in awkward position of deciding whether to kill you or set you free.
Dimitri sits back down in the chair in front of his Guest.
DIMITRI
You know, this problem remind me of situation that I have recently been able to resolve which haunt me for some time now. It involves a man down on his luck much like you right now. I call him the Ice Dancer. I need to tell story of this man, and you will be first to hear it.
END SCENE
NEWS PAPER CLIPPING CLOSE UP
A newspaper clipping from March 16, 1973 titled Australian Police Raid Offices of the Nation’s Secret Service.
DIMITRI
(Narration)
This story begins in when common wealth Police raid offices of Nation’s Secret Service looking for Croatian Liberation Movement operating in city of Canberra, Australia.
MONTAGE - Old photos of Police Officers raiding Nation’s Secret Service Offices.
DIMITRI
(Narration)
Informants uncover agency under Prime Minister Whitlam would refuse to hand over files to Police by order of Attorney General Lionel Murphy. In US it would be equivalent to raid on C.I.A. by F.B.I.
MONTAGE - Old photos of the Prime Minister and Attorney General, shown in a way that would implicate an inner-agency battle.
DIMITRI
At time Yugoslavia blame Australian Government for giving Croatian terrorists training ground. Which lead to attacks on Yugoslav President Tito.
MONTAGE – Old photos of bombings in Yugoslavia ending with pictures of President Tito.
DIMITRI
(Narration)
In March of seventy-three two bombs were discovered and defused along routes Prince Phillip take from airport to city. Other bombs suspected of being planted but only two found, however third bomb was to kill Prince Phillip underneath gate entrance.
INT. SEWER SYSTEM UNDERNETH GATED ENTRANCE – NIGHT – BACK IN THE PAST
MIKHAIL and SERGEI are sneaking around on a walking platform. Sergei is looking at a blueprint with a flashlight while Mikhail is carrying a bag with bomb supplies leading the way.
MIKHAIL
So you see Sonya?
SERGEI
Oh not again?
MIKHAIL
I’m sorry, she has biggest titties I’ve ever seen.
SERGEI
(Bored of subject)
Yes I know big titties.
MIKHAIL
Not all of us can be family man. But we can all be men right?
SERGEI
I would like to just focus on…
Sergei stops and looks up to see if they’re at the right spot.
SERGEI
We are here.
Mikhail sets the bag down and starts putting the bomb together.
MIKHAIL
You know there is no place in this business for family.
SERGEI
Listen, fucker, because you are single don’t give me your shit because you are not man enough to really handle women.
Mikhail stops putting the bomb together.
MIKHAIL
Take that back!
SERGEI
Just put bomb together so we can go.
Mikhail works on the bomb again.
MIKHAIL
You know there is part of you who wish to be single.
SERGEI
I love my son too much to think that way.
MIKHAIL
Hah, nothing more than anchor!
SERGEI
Eat my ass!
Mikhail brings the bomb out of the bag ready to attach to the underside of the street.
MIKHAIL
I really don’t think you should say such things.
INT. EMPTY BUILDING ACROSS THE STREET - NIGHT
Sergei and Mikhail set up by the window and fall asleep.
INT. EMPTY BUILDING ACROSS THE STREET – DAY
Both Mikhail and Sergei are sleeping when they get a call on the radio.
RADIO
Silver Fox, this is Red Star, over.
Sergei and Mikhail wake up. Mikhail searches his bomb bag for the detonator while Sergei grabs the radio.
SERGEI
(On radio)
Red Star this is Silver Fox go ahead, over.
RADIO
Silver Fox, eggs have hatched, rooster returning to coupe, over.
Mikhail is looking out the window for the motorcade.
MIKHAIL
He is not here.
SERGEI
(On the radio)
Silver Fox on lookout, over.
RADIO
Rendezvous on the moon, over and out.
Sergei puts the radio down and heads over to Mikhail who is still looking out at the street.
MIKHAIL
I see him.
Mikhail hands the detonator over to Sergei.
EXT. THE STREET BELOW
A motorcade of expensive cars drives down the street and stops at the gates of Prince Phillip’s residence.
INT. EMPTY BUILDING ACROSS THE STREET
Mikhail is watching as the guards open the gates to the property across the street.
MIKHAIL
The gate is opening.
EXT. THE STREET BELOW
The first car enters the driveway.
INT. EMPTY BUILDING ACROSS THE STREET
MIKHAIL
Steady…
EXT. THE STREET BELOW
The second car enters the driveway.
INT. EMPTY BUILDING ACROSS THE STREET
MIKHAIL
Steady…
INT. SEWER SYSTEM UNDERNETH GATED ENTRANCE
The bomb rests attached to the underside of the street waiting for its moment.
EXT. THE STREET BELOW
The third car enters the driveway.
INT. EMPTY BUILDING ACROSS THE STREET
MIKHAIL
Now!
Sergei presses the button on the detonator.
INT. SEWER SYSTEM UNDERNETH GATED ENTRANCE
The bomb continues to wait for its big moment.
MIKHAIL
Now!
Sergei frowns up and presses the button again.
INT. SEWER SYSTEM UNDERNETH GATED ENTRANCE
The bomb does nothing.
MIKHAIL
Hey retard press button!
SERGEI
I am pressing button.
MIKHAIL
What do you mean?
Sergei stands up and puts the detonator in Mikhail’s face, then presses the button.
MIKHAIL
No!
Mikhail grabs the detonator and checks the battery compartment. The battery is there.
SERGEI
You and your stupid titties!
MIKHAIL
What?
SERGEI
So impressed with big fucking titties you wired bomb wrong.
RADIO
Silver Fox this is Red Star, over.
Both Sergei and Mikhail look at each other than back at the radio.
MIKHAIL
You talk to him.
SERGEI
You pussy.
Sergei is very hesitant about picking up the radio but manages.
SERGEI
Red Star this is Silver Fox, over.
RADIO
Report of Roster in Coupe, what is status of egg, over.
Sergei gives the stink eye to Mikhail before answering.
SERGEI
Egg… has hatched, over.
There is no response for at least three seconds.
RADIO
What?
SERGEI
Egg has hatched, over.
The radio is silent for another three seconds.
RADIO
Get your incompetent asses over to the moon. Now!
Sergei and Mikhail look at each other knowing full well what that meant.
END SCENE
INT. SECRET BASEMENT – BACK TO PRESENT TIME
Dimitri continues his story while sitting in front of his wife’s killer.
DIMITRI
Sergei and Mikhail were on run for many weeks. But, B.S.O. needed to make example of what it means to be part of family.
EXT. A GOAT HERDERS FIELD, BACK IN THE PAST – DAY
Five Russian Mobsters walk through a herd of goats with their automatic weapons drawn.
A patch of goats move out of the way to reveal Sergei laying on the ground hiding from the Mobsters.
SERGEI
Shit!
The mobsters don’t say a word; they just look down at the pathetic Sergei.
END SCENE
INT. A TOOLSHED SOMEWHERE IN MOSCOW
Sergei is tied up on the ground. A big bulky Russian enters the shed with a sledgehammer and throws the weapon over his shoulder.
DIMITRI
(Narration)
Sergei was captured. B.S.O. never found Mikhail. Only one was enough to make example.
The Tormentor slams the sledgehammer down on Sergei’s knee causing him to scream out in pain.
Silhouette
The sledgehammer comes back up and goes back down, making a distinctive tenderizing sound muffled by screams of torment.
END SCENE
EXT. A SCHOOL HOUSE IN THE PAST, MOSCOW – DAY
A seven year old boy is leaning on a fence watching Russian tanks drive down the street past his school.
DIMITRI
(Narration)
Sergei left a family behind but his son is what, whole story is about. His name was…
Ivan, a boy in the school yard yells out at the boy leaning on the fence.
IVAN
…Jimmie! I heard that your father was making with mountain goat before getting killed by Uncle!
Jimmie hops off the fence and runs over to Ivan. He hits the little punk square in the nose.
Ivan falls down to the ground with a bleeding broken nose and laughs at Jimmie.
IVAN
So it is true, you are son of Goat-Fucker!
Jimmie hops down on top of the kid and starts smashing his fists into Ivan’s face. Instead of crying out in pain Ivan continues to laugh.
INT. JIMMIE’S HOME – DAY
Jimmie enters his home and walks around a sofa to find a man named Moti having his way with his mother, Karin. The mother is tripping out on a shot of heroin she had injected into her self moments ago. Her male companion could care less that a little boy has entered the room and continues to have sexual relations with Jimmies mother.
KARIN
(In sexual act)
Jimmie, your teacher called…
Karin passes out on the floor while the male companion continues to have sex with Karin.
Jimmie shakes his head and looks down in disappointment.
JIMMIE
I go to room now.
The Male Companion looks up.
MOTI
Go, I, I try to finish.
INT. CLASSROOM – DAY
Jimmie is sitting in class while the teacher writes their homework assignment on the chalkboard.
DIMITRI
(Narration)
Jimmie had discovered love at young age.
Jimmie places a note on the desk of a pretty girl sitting next to him named Candi.
Candi grabs the note and reads it to herself.
(NOTE READS: Would you like me to walk you home after school?)
Candi looks up at Jimmie who is smiling at her. She smiles back.
EXT. JIMMIE’S SCHOOL
Jimmie rushes to the gate and waits for Candi to exit the school. She steps out of the school and to Jimmie is a stunning vision. She walks over to the gate and smiles at Jimmie.
Ivan, who is wearing a nose stint from having a broken nose and two black eyes, walks up to Jimmie and pushes him to the ground. The boy is stunned and looks up to see Ivan walk with Candi down the sidewalk on the other side of the fence.
Jimmie picks himself up and runs along the fence, opposite of Candi and Ivan.
JIMMIE
But Candi, I want to walk you to house.
CANDI
It will not work Jimmie.
JIMMIE
But you walk with him!?
CANDI
Ivan is real man.
JIMMIE
But he is seven like me. Look at his face I did that!
Candi stops and looks at Jimmie.
CANDI
I will not walk with son of Goat-Fucker. I will not do it.
Candi walks across the street with Ivan in between two military tanks.
Jimmie stands a shell of a boy, watching the love of his life walk away.
INT. JIMMIE’S HOME – NIGHT
Karin is cutting portions of a rump roast in the kitchen while Jimmie and Moti sit at the dining table waiting for their food. Moti is smoking weed.
JIMMIE
Don’t you think is early to have boyfriend?
KARIN
Jimmie, don’t talk about Moti like that and don’t disrespect mother. Which reminds me…?
Karin brings out two plates into the dinning room and reaches in front of Jimmie and places a plate in front of Moti. Jimmie looks over at Moti giving him the stink eye then back at his mother, who places the other plate across the table for her to start eating.
Jimmie gives her the stink eye, while she sits and begins cutting her food.
KARIN
…because of Goat-Fucking father dying I will have to work with my brother as Butcher.
JIMMIE
What about Moti, why doesn’t he pay rent to stay here.
While Moti is chewing on the roast he looks over at Jimmie.
MOTI
Fuck you, why don’t you pay rent?
KARIN
Jimmie! Don’t talk to Moti like that and because he doesn’t work.
JIMMIE
You mean he doesn’t have job?
KARIN
No, I mean he doesn’t work it is his choice. Anyway at least he is real man, not like Goat-Fucking father. Yesterday, why you get into fight?
JIMMIE
Ivan talk about father.
MOTI
What he say?
JIMMIE
He talk about my father.
KARIN
What he say?
JIMMIE
He say father make with goat.
Moti laughs.
MOTI
What that mean?
JIMMIE
It means to fuck!
KARIN
Jimmie! Don’t cuss at Moti, and Ivan was right, your father was Goat-Fucker!
JIMMIE
Father not Goat Fucker! You know Ivan’s uncle kill Father?
MOTI
So, father was Goat-Fucker.
Moti laughs while Jimmie looks at the plate of rump roast sitting in front of Moti while nothing sits in front of Jimmie. He stands up and punches Moti in the face.
Karin stands up in an outrage.
KARIN
Jimmie, go to room, no dinner.
Jimmie stops and gets off of Moti who is laughing on the ground with a bleeding nose.
JIMMIE
What?
KARIN
Get off Moti and go to room now and think about what you are doing?
JIMMIE
Yes, mother.
MOTI
You get in trouble.
Jimmie bends over and punches Moti in the nose one more time.
KARIN
Jimmie!
INT. JIMMIE’S ROOM – NIGHT
Jimmie is looking outside at the stars and then something on the frozen ice grabs his attention, a past memory of his father and him on the ice. His father helps him lace up his skates for the first time. Jimmie starts to skate at the age of three but he falls on his butt. Sergei looks at his son, a proud father, laughs and helps his son back to his feet. The images disappear and leave an empty field of ice.
EXT. JIMMIE’S HOUSE – NIGHT
Jimmie escapes his room through his window and makes his way out to the ice with his ice skates draped over his shoulder.
He laces up his skates and begins skating.
DIMITRI
(Narration)
Jimmie began skating and telling story of sorrow on the ice.
TIME WARP THREE YEARS INTO THE FUTURE
EXT. ICE POND BY JIMMIE’S HOUSE 1976 – DAY
Jimmie is still skating on the ice. He looks like an Olympic Champion Ice Skater.
DIMITRI
(Narration)
Three years go by and Jimmie’s Ice Dancing becomes a local legend. People even stop talking about how Father was Goat-Fucker.
On a fence are fans of Jimmie’s, as he skates gracefully on the ice. HORACE GRUBBIER, an Olympic Scout is also in the crowd watching Jimmie and sees his potential as an Olympic Skater.
INT. JIMMIE’S HOUSE – DAY
Karin and Moti are sitting at the table while Horace talks about Jimmie qualifying for the Olympics. Karin is partially interested while Moti is smoking a bong.
DIMITRI
Horace Grubbier was an Olympic Scout and had received consent to sign Jimmie up for upcoming Olympic Preliminaries.
INT. LOCAL OLYMPIC TRYOUTS ARENA – DAY
Jimmie skates on the ice as if he had already received a gold medal. Another Russian child by the name of IRA KLIMENT watches in distain as Jimmie skates on the ice knowing full well he will not be able to beat Jimmie. MARK KLIMENT, Ira’s father stands behind his son plotting and planning against the Ice Dancer.
DIMITRI
(Narration)
Unfortunate for Jimmie he was competing against another local kid by the name of Ira Kliment. Father was government official, Mark Kliment. He would make sure son would be representative of Mother Russia at Olympics.
INT. JIMMIE’S HOME – DAY
Mark and a couple of his lackeys are talking with Karin while Moti smokes more weed. Mark hands her money as compensation for Jimmie’s disqualification to enter the Olympics.
DIMITRI
Jimmie’s coach could not just take Jimmie out; he had to arrange an accident.
INT. LOCAL CENTER FOR INDOOR SKATING – DAY
People are skating on the ice while Jimmie laces up his skates.
Ivan and two of his goon buddies jump Jimmie and begin beating him with tire irons.
IVAN
Take that son of Goat-Fucker!
EXT. LOCAL HOSPITAL - DAY
The doors are wide open and a line of patients wrap around the building and down the block.
Jimmie waits in the back of the line on a stretcher with a broken leg, broken ribs and a broken nose.
INT. JIMMIE’S HOSPITAL ROOM – NIGHT
The DOCTOR enters the room. Jimmie is laying in the bed with a cast on his leg and ribs. He also has a stint on his broken nose.
DOCTOR
We have been unable to reach mother. You sure she is at home?
JIMMIE
(In pain)
I don’t know.
DOCTOR
Well, just to let someone know you have broken leg in three areas, two broken ribs, and one broken nose. We keep trying your home.
The doctor leaves the room. Jimmie looks up at the ceiling and is trying to get over the fact that his dream of being an Olympic Skater is now dashed.
Just then someone rolls a gurney past Jimmie’s doorway with a dead body on top. Jimmie looks out the door to see that his mother is on the gurney, she’s dead.
JIMMIE
Mom!
A nurse comes rushing in.
NURSE
What is it?
JIMMIE
My mother on table that just pass room.
The nurse rushes out of the room to catch up the gurney.
Jimmie is hysterical. A moment later the gurney rolls past the door. The mother’s head is showing.
JIMMIE
(Shocked)
No!
The nurse pops her head into the doorway.
NURSE
Is mother?
Jimmie nods his head. The gurney rolls away and Jimmies mother disappears.
The doctor walks into the room and sits down on the bed next to Jimmie.
DOCTOR
Well, now we know why mother not pick up phone.
The doctor chuckles, oblivious to the fact that Jimmie is devastated.
JIMMIE
What happened?
The doctor looks out the room then back at Jimmie.
DOCTOR
We still have to do autopsy, but it look like heroin overdose. Is there anyone else we can call?
JIMMIE
(Sad)
Uncle.
DOCTOR
I will send in nurse later to gather information.
JIMMIE
(Sick)
Doctor…
DOCTOR
Yes.
JIMMIE
(Sick)
I need to throw up…
DOCTOR
Oh, here.
The doctor quickly gives Jimmie a bed pan to throw up in and that is what Jimmie does immediately.
The doctor pats Jimmie on the back as he heaves into the bed pan.
DOCTOR
It okay, let it all out.
When Jimmie is finally done heaving the Doctor stands up.
DOCTOR
I will give you a few moments. Nurse will be in shortly to have you fill out forms so we contact Uncle for you.
Jimmie nods to the doctor and he leaves the room.
A moment goes by as Jimmie sits up in his bed, bed pan full of vomit sitting right in front of him.
In the hallway right outside Jimmie’s door, Moti walks with a nurse in the same direction Karin’s body was taken. Moti is flirting with the nurse, who is very receptive of Moti’s affections. Moti passes the door.
Jimmie can’t believe it. Revenge is in order.
JIMMIE
Hey, Moti!
Moti and the nurse walk back to the doorway.
MOTI
Jimmie?
The bed pan of vomit flies and hits Moti in the face covering him and his new girlfriend with vomit. They are both outraged.
EXT. THE HOSPITAL – NIGHT
Jimmie is wheeled outside by an orderly in a wheelchair and turned over into the street.
ORDERLY
Uncle is on his way.
The orderly takes the wheelchair and retreats back into the hospital. Jimmie lies on the ground looking back at all the patients in line waiting to see the doctor then looks over at the street as Russian soldiers march.
DIMITRI
(Narration)
With Father and Mother dead. Dream of being Olympic Ice Skater crushed. Jimmie end up with Uncle NIKOLAI and Nephew TIMOFEY.
END SCENE
INT. UNCLE’S BUTCHER SHOP – DAY
Both Jimmie and Timofey are dressed up as butchers. Nikolai begins showing Jimmie how to cut meat down from a hook to begin preparing the meat to be sold to the customers. First, Nikolai shows Jimmie how to hold the butcher knife then how to cut the carcass into portions.
DIMITRI
(Narration)
He even worked as a meat cutter in his Uncle’s business, but, something not right about how Jimmie cutting meat.
Jimmie begins slashing at the meat violently imagining all of the people who have ruined his life. His Uncle jumps back making sure neither that he nor his son are harmed in Jimmies wake of destruction.
After Jimmie stops himself from having his way with the rack of dead meat he has a demented look of satisfaction on his face.
The Uncle slowly takes the knife from Jimmie and shows him again what he needs to do, to cut the meat down from the rack.
DIMITRI
(Narration)
But, Jimmie do as Uncle asks and works with Uncle and Nephew as Butcher.
FAST FORWARD SEVEN YEARS LATER
EXT. NIKOLAI’S BUTCHER SHOP, 1984 - DAY
Jimmie is now seventeen years old. He walks across the street, in between two military tanks in motion and along the sidewalk toward the entrance to start his shift.
INT. NIKOLAI’S BUTCHER SHOP
Jimmie is in front of the shop and looks in through the window. He stops and notices that his Uncle is tied to a chair talking with two mafia goons, JOSEPH and YEGOR.
NIKOLAI
I told you, I don’t have any money.
Joseph begins destroying items in the shop with a crowbar while Yegor talks business.
YEGOR
You have missed last few payments. Boss is tired of excuses.
NIKOLAI
Is not excuse. Look no shipment has
come in past two weeks. I can’t pay
protection when there is no money.
YEGOR
Joseph.
Joseph comes over to Nikolai and begins punching him in the face.
EXT. NIKOLAI’S BUTCHER SHOP
Jimmie watches as the two thugs beat up his uncle. He runs around the back of the shop and attempts to enter the shop undetected.
INT. NIKOLAI’S BUTCHER SHOP
Yegor is pouring gasoline all over the shop while Joseph goes to work on Nikolai’s face.
NIKOLAI
Stop!
Joseph continues to smash in Nikolai’s face. Yegor stops pouring gasoline and pulls out a lighter.
YEGOR
Joseph!
Joseph stops punching Nikolai in the face. Yegor walks up to Nikolai with the lighter lit.
YEGOR
See you in next life.
He burns a piece of cloth and drops it on the floor in front of Nikolai. The fire spreads fast as Yegor and Joseph begin heading out of the shop.
EXT. NIKOLAI’S BUTCHER SHOP
Smoke is already beginning to pour out of the shops doors and make it impossible to see what is happening inside the shop.
INT. NIKOLAI’S BUTCHER SHOP
Jimmie rushes to his Uncle’s aid, grabbing a butcher knife to cut through the ropes and set his uncle free.
The uncle begins coughing due to smoke inhalation.
JIMMIE
Uncle?
NIKOLAI
Jimmie. Help me.
Jimmie looks up to see Joseph looking back into the shop before he leaves. He sees Jimmie standing above his Uncle. He pulls his gun and is about to aim when Jimmie throws the knife and hits Joseph square in his right eye killing him instantly.
EXT. NIKOLAI’S BUTCHER SHOP
Joseph’s body falls backward outside the door of the burning shop. Yegor looks back to see Joseph lying dead on the ground hanging halfway out of the building. He starts to head toward the shop with his gun drawn but there are too many soldiers walking around. He does catch a glimpse of Jimmie inside the shop.
Nikolai looks out the window to see Yegor looking at Jimmie.
Jimmie grabs another knife to cut his uncle loose.
EXT. NIKOLAI’S BUTCHER SHOP
Timofey runs up to the building as it is burning.
TIMOFEY
Father!
Timofey turns to see Yegor looking at him. He knows that Yegor started the fire.
Yegor gets to his vehicle and drives away, while Timofey runs to the back of the Butcher shop.
Jimmie is helping Nikolai out of the shop as Timofey arrives. Nikolai lays down on his back coughing and gasping for air.
Timofey kneels down by his father’s side.
TIMOFEY
Father, are you okay?
NIKOLAI
(Gasping)
I fine, thanks to Jimmie I live.
TIMOFEY
Oh, thank you God.
JIMMIE
I was able kill one of those fuckers before they run away.
TIMOFEY
Yes cousin, good work.
NIKOLAI
No. This is bad. The other one saw you, and will be ordered to kill you.
(To Timofey)
As vendetta they will also go after you. I will arrange for transport for you to go to different countries. You must leave Moscow.
Jimmie looks down on his Uncle with concern for his well being. He has also discovered he knows how it feels to kill. It feels good.
END SCENE
DIMITRI
(Narration)
That same day Nikolai would say goodbye to his son and send him away. Where Timofey was sent I can not say. Jimmie, however was sent to New York.
EXT. CARGO SHIP
Arranged transport takes Jimmie from Mother Russia to America, with the Statue of Liberty welcoming its latest cargo.
INT. JIMMIE’S TAXI – DAY
Jimmie is now driving a taxi. He is driving like a madman on the road. His passengers yell at him.
DIMITRI
(Narration)
Jimmie drives cab for two years. He stay with slumlord where he pay very little to build capital to start own business.
INT. JIMMIE’S APARTMENT – NIGHT
The hanging light is flickering while Jimmie washes the dishes in his broken down apartment. A few roaches crawl along the walls.
INT. JIMMIE’S APARTMENT – NIGHT
Jimmie comes home from another drive. He goes to his bed and begins filling a shoebox with money.
FAST FORWARD TWO YEARS
Jimmie’s money box continues to fill more and more with cash until it is completely full.
INT. THE BANK 1986 – DAY
Everyone is in fast forward except Jimmie and an accountant with the bank, Derek, who are in slow motion. Jimmie hands him the shoebox and gives Derek a hand shake.
INT. JIMMIE’S BUTCHER SHOP – DAY
The place is destroyed on the inside. It looks like fire took out the previous business owner.
FAST FORWARD TWENTY THREE YEARS
As weeks go by the shop starts to come together. The flooring is replaced, walls are repaired. New windows are put in showing a great view of the street and the people who pass by the business. A sign is placed on the front door notifying the public when they will be opening.
Refrigeration units and installers come into the business to turn the back room into a meat locker and cooling units are installed to present the various meats to the public.
Pictures are placed on the walls while inspectors make sure the business is up to code. Registers are installed and people come into the store to be interviewed for employment. The business receives its first shipment of meats. The vendors deliver everything to the meat locker in the back of the store.
Employees are hired and start working. Jimmie shows them what they need to do then he rips the notification off the front door. People begin shopping and buying from him.
Jimmie turns the business into a place where people can buy their freshly cut meat. Customers come in and know Jimmie is a guy they can trust. He gives them service with a smile.
DIMITRI
(Narration)
Jimmie had made life for himself as business owner. Years go by until one day…
INT. JIMMIE’S MEAT LOCKER 2009 – DAY
Jimmie is forty-two years old now; he and Frank, one of his employees are in the meat locker. Frank is cutting up some ribs for display in the front while Jimmie goes over the inventory of there most recent shipment.
Jennifer, the cashier peaks her head into the meat locker.
JENNIFER
Hey, Jimmie there are some real important looking people here to see you.
INT. JIMMIE’S BUTCHER SHOP
Jimmie enters the front of the shop to see Viktor and Yuri, two Russian mafia thugs roaming the selections. Viktor looks up to see Jimmie enter the room. He knows immediately what they want.
JIMMIE
(To Jennifer)
Jennifer, can you continue working inventory for me I need to handle something out here. I will let you know when to come back out.
JENNIFER
Okay.
Jennifer leaves the front to work on inventory in the meat locker.
He looks down to see a meat cleaver resting on the counter and slowly moves on over to it.
JIMMIE
Can I help you?
VIKTOR
I think it is my boss who can help you.
JIMMIE
Who you work for?
VIKTOR
Dimitri Evpraksiya, you’ve heard of him?
JIMMIE
It rings bell
VIKTOR
It just so happen that business is close to Italian’s. Word on street is that they thinking of expanding territory.
JIMMIE
And let me guess, you offer protection? Why me?
VIKTOR
Heard you Russian.
JIMMIE
Yes, but now citizen of United States, and not in need of protection.
Viktor doesn’t like what he is hearing and slowly motions to his jacket.
Jimmie looks down at the cleaver on the counter which stops Viktor in his tracks.
VIKTOR
We leave now. Maybe you change mind later.
Jimmie doesn’t understand why Viktor didn’t pull his gun from his jacket but it wasn’t going to go down at that moment.
Viktor and Yuri leave the shop.
INT. JIMMIE’S MEAT LOCKER
Jimmie pops his head into the meat locker. Frank and Jennifer stop kissing immediately. Frank starts cutting meat randomly while Jennifer straightens her skirt. Jimmie just looks at the two of them for a moment.
JIMMIE
I go home for the day. I do inventory tomorrow. Jennifer you close store.
JENNIFER
Okay.
Frank smiles and knows that they will have the store all to themselves.
JIMMIE
Frank, you close fly.
Frank is startled and looks down quickly to notice that his fly is in fact down with his underwear hanging out of his pants. He quickly zips up and goes back to cutting the meat.
JIMMIE
You need to start cleaning store, stop
fucking, start working.
JENNIFER
Okay.
INT. DR. MARTHA GUTIERREZ’S OFFICE – DAY
Dr. Gutierrez is sitting at her desk reviewing the file of her next patient. She flips to the last page of his file and quickly scans the page.
She presses a button on her phone connecting her to her secretary.
DR. GUTIERREZ
Maria, can you send in Mr. Jenkins?
MARIA
(On phone)
Yes, Doctor.
There is a male voice in the background belonging to the patient, Bouregard Jenkins.
BOREGARD
(On the phone)
… then what you do is pinch the top a little bit and use three fingers. That’s the move that George was talking about.
Dr. Gutierrez shakes her head at what she is listening to. She quickly presses the button on the phone to connect to her secretary.
DR. GUTIERREZ
Maria, I can hear everything that is going on out there. Please stop flirting with Mr. Jenkins and send him in.
BOREGARD
(On the phone)
That’s Detective Jenkins--
(Tourettes)
Bitch!
The comment angers the Doctor.
MARIA
(on the phone)
I’ll send him in right away.
The door flies open with Detective Jenkins entering the room.
Dr. Gutierrez stands up.
DR. GUTIERREZ
Because of your history with Tourettes I’m going to disregard what your comment.
DETECTIVE JENKINS
It’s alright as long as it’s all fair
(Tourettes)
FATASS!
Dr. Gutierrez gives off a stink eye then slowly retracts it.
DETECTIVE JENKINS
Please don’t look at me like that, lets be fair about all of this. I’ve been through a lot of traumatic shit in my life and I need you Doc.
Dr. Gutierrez motions to the couch.
DR. GUTIERREZ
Please have a seat.
DETECTIVE JENKINS
Alright lets get this going,
(singing)
HOT SEX ON A PLATTER!
The Doctor tries to ignore the last comment. Detective Jenkins tries to sit down then stands up.
DR. GUTIERREZ
What’s wrong?
DETECTIVE JENKINS
I can’t lay down while this bitch is talking to me.
DR. GUTIERREZ
That’s okay you can sit across from me if…
DETECTIVE JENKINS
It’s like taking a bath with your socks on.
DR. GUTIERREZ
I—ugh. Is there any…
DETECTIVE JENKINS
(singing)
Kiss me and I’ll kiss you back.
DR. GUTIERREZ
I’m sorry Detective can we please get started?
DETECTIVE JENKINS
Okay…
Bo grabs a chair off to the side of the Doctor’s desk and sits down.
DR. GUTIERREZ
Now, How do you feel?
DETECTIVE JENKINS
(Flashback)
I’m feeling good. I’m loving life and
I can get you about two fifty for that sweet brown ass.
DR. GUTIERREZ
Well, thank you, thank you very much
but were not talking about me were
talking about you right now. Let’s
focus on you.
DETECTIVE JENKINS
No, no, I don’t think that’s a good idea.
DR. GUTIERREZ
Let’s talk about your childhood.
Starts to cry then stops himself.
DETECTIVE JENKINS
(Flashback)
Oh no momma, don’t leave me.
DR. GUTIERREZ
Was that a traumatic time for you?
DETECTIVE JENKINS
(Flashback)
Bitch! I’m trying to tell you when you don’t kiss it the angel won’t get its wings…
(Normal)
My father was an amputee, he was like a torso with stumps that wiggle around, and the kids would come over to my house…
FLASHBACK
EXT. BOREGARDS HOUSE, TOWN OUTSIDE LAS VEGAS, 1984 – DAY
Five year old Bo stands outside his house pretending to play baseball when ten of the neighborhood kids approach him. RED GARLAND, one of the kids walks up to Bo.
RED
Hey Jenkins! Can your dad come out and play?
YOUNG BO
Why do you want to play with my dad?
RED
We want him to play third base, or we’re going to fuck you up real bad.
The other kids laugh as Bo looks down in shame.
DETECTIVE JENKINS
(Narration)
So the kids made me take my Radio Flyer and drag my daddy to the baseball field.
EXT. SIDEWALK TO THE PARK - DAY
Young Bo drags his father to the baseball field on a Radio Flyer. His father flops around trying to get off but can’t. The neighborhood kids walk behind the wagon laughing at the father.
EXT. SIDEWALK TO THE PARK - NIGHT
Young Bo brings his father back home on the Radio Flyer alone.
DETECTIVE JENKINS
(Narration)
I’d have to bring back once they were done with him.
END FLASHBACK
INT. DR. MARTHA GUTIERREZ’S OFFICE – DAY
The Doctor writes down as much as she can before he reverts to his days as an undercover cop.
DR. GUTIERREZ
Okay this is very good. Now you mentioned your mom earlier?
DETECTIVE JENKINS
Oh Hell, my momma was a saint what the fuck you talking about my momma for?
DR. GUTIERREZ
But, you said…
DETECTIVE JENKINS
You got some serious problems lady. My momma left to get my dad’s arms and legs back from the bad man.
DR. GUTIERREZ
The bad man, who is the bad man?
DETECTIVE JENKINS
The guy who thought that my Mom was a ho. He kept thinking that she was a ho and they, well, she felt sorry for the bad man and had sexual relations with him, but she felt bad about Dad so she let him watch.
DR. GUTIERREZ
(Disturbed)
How did that make you feel?
Detective Jenkins looks at the Psychiatrist with a disgusted look on his face as if to ask the question, “How can you ask me that?”
DETECTIVE JENKINS
How would that make you feel?
DR. GUTIERREZ
Okay, ugh, I will talk about something else.
DETECTIVE JENKINS
Yeah, that’s a good idea Doctor-
(Tourettes)
SCROTUM CHIN!
END SCENE
EXT. OUTDOOR SKATING RINK – NIGHT
Jimmie is sitting with his ice skates over his shoulder on the side of the skating rink while others are skating on the ice. Jimmie is deep in thought when a three women fall in unison on the ice, Rebecca, Ginger and Carla. They all laugh and pick themselves back up. Jimmie looks over at Rebecca and sees she’s looking back at him as if she had been waiting to get his attention.
Rebecca rushes over to Jimmie. Jimmie immediately stands up.
JIMMIE
Hi.
REBECCA
Hi. I see you hanging out here all the time but you never come out on the ice.
JIMMIE
Ugh, I am not good skater I probably worse than you—Ah I mean…
REBECCA
It’s okay. Your right, I could be better, I figured that I needed a reason to talk to you so I used my super powers of bad skating to come over here.
Jimmie smiles and suffers from being embarrassed.
JIMMIE
You don’t need reason to talk with me.
Rebecca smiles at Jimmie. Jimmie looks up to see Rebecca’s friends watching the love scene. They both catch themselves and skate off.
CARLA
Okay, we did our part.
GINGER
We’ll see you tomorrow bitch!
Rebecca turns to face her friends.
REBECCA
I’ll see you tomorrow.
She turns back to face Jimmie with a goofy smile.
FIVE MINTUTES LATER
Jimmie and Rebecca are now on the ice. Jimmie has grace while Rebecca is trying to copy Jimmie.
REBECCA
So where are you from?
JIMMIE
I am from here?
REBECCA
No, I mean where did you grow up?
JIMMIE
Oh, I’m from Moscow.
REBECCA
So this kind of weather is warm to you?
JIMMIE
Yes, because we are impervious to frost bite.
REBECCA
No, I didn’t mean…
JIMMIE
No, it is okay. I get that a lot so don’t worry.
A LITTLE GIRL runs into Jimmie and falls on her butt.
LITTLE GIRL
Watch where you’re going you fucking immigrant.
REBECCA
Whoa! You can’t say that!
Jimmie leans down to whisper to the little girl.
JIMMIE
It is okay, trust me much worse has been said to me. Go on little girl whose Daddy probably sleeping with someone else while Mommy gets drunk.
The little girl starts to cry and skates off.
REBECCA
What did you say to her?
JIMMIE
I throw up verbal mirror. When someone see who they really are that person usually not get along with person in mirror.
REBECCA
Wow, that’s kind of deep.
JIMMIE
Well, maybe we talk more psychology on next date.
REBECCA
Okay, I’d like to go on an actual date with you but you need to stop playing undercover.
JIMMIE
What do you mean?
REBECCA
You need to show me your skills on the ice.
JIMMIE
Oh, no. I’m—no. I do not skate well.
REBECCA
Bullshit!
Jimmie laughs.
JIMMIE
Bullshit?
REBECCA
Yeah, bullshit. You’re from Russia so you know how to ice skate.
JIMMIE
So you do judge book by cover?
REBECCA
No, by the way you’re skating right now. You do it like breathing you make it look easy.
JIMMIE
Oh, well what do you want to see?
REBECCA
Ah, okay, okay I got it. Do a triple axel.
JIMMIE
Triple Axel. Do I look like Olympic Champion?
REBECCA
Hey, I want a date with you but you have to perform for me. I want a triple axel.
Jimmie stops skating. Rebecca has a goofy smile on her face.
ONE MINUTE LATER
Jimmie skates and builds speed to perform a triple axel. Rebecca watches in anticipation.
Jimmie begins the jump. He leaps up into the air and the blades of his skates look like the blades of a blender. Successfully spinning three times he lands with the grace of a Champion Ice Skater.
Rebecca’s mouth drops open along with everyone else who saw Jimmie pull off the move.
Jimmie skates over to Rebecca panting from the energy he has just displayed.
JIMMIE
(Panting)
So, I now walk you home?
Rebecca just stands with her mouth open.
EXT. FOURTH STREET – NIGHT
Rebecca and Jimmie are walking down the street of what appears to be a business district.
REBECCA
I’m still… I can’t believe you pulled that off.
JIMMIE
Why, don’t all Russian’s know how to ice skate?
Rebecca laughs.
REBECCA
Well, I guess they can. I think you might be at the panicle of a Russian stereotype.
JIMMIE
Well, please don’t tell anyone that is my fault.
Someone dressed in all black, sneaks up on Jimmie and hits him over the head. He falls to the ground.
REBECCA
Jimmie!
JIMMIE
Rebec…
Jimmie passes out as the assailant drags Rebecca into the shadows of an alleyway.
TWO MINUTES LATER
Jimmie is waking up on the ground. There is a crowd of people around him. They speak amongst themselves about his condition.
Jimmie looks around to see where he is then looks over at the alley that Rebecca was taken to.
JIMMIE
Rebecca!
Jimmie gets to his feet and stumbles into the alleyway.
JIMMIE
Rebecca!
He holds the back of his head when he comes to the end of the alleyway and makes a left in between two buildings.
JIMMIE
Rebecca!
REBECCA
(faint)
Jimmie.
Jimmie looks down at the ground behind a trash dumpster and see Rebecca’s legs hanging out from behind.
Jimmie quickly kneels down to her side. Her right arm has been broken in two spots. Her knees are bleeding from being scrapped on the pavement. Rebecca’s nose has been broken and bottom lip busted. There are bruises and cuts all over her body from being battered.
JIMMIE
(Hysterical)
Rebecca, I will get you to hospital.
Jimmie picks Rebecca’s limp body up.
EXT. HOSPITAL – NIGHT
Jimmie is in the ICU waiting room as Carla and Ginger come into the room. Ginger walks up to Jimmie and slaps him in the face.
GINGER
(Angry)
How dare you do this?
JIMMIE
Do what?
GINGER
(Angry)
Beat the shit out of my friend!
JIMMIE
I was knocked out by same fucker that did this?
GINGER
(Mocking)
Oh, “same fucker” huh? So you let this shit happen?
Ginger takes a swing at Jimmie’s face. He not going for that and catches her fist before it hits his nose. He throws her fist and her down to the ground.
JIMMIE
You don’t know me that well. I would suggest you don’t do that again.
CARLA
I think you should go.
Jimmie looks over at Carla then back at Ginger. He pulls out a business card and hands it over to Carla.
JIMMIE
Here is my card. Doctor said police are on their way. My home number is on back along with address.
Jimmie walks out of the room to leave Carla and Ginger to see Rebecca when she can receive visitors.
INT. OUTSIDE JIMMIE’S APARTMENT – NIGHT
Jimmie is scratching the back of his head with one hand and flipping through his keys with the other hand to get into his apartment when an old lady comes up the stairs, MISS GRENDAL the Super. Jimmie looks at the hand he is scratching with to discover that his head is bleeding.
MISS GRENDAL
Jimmie. You’re late on your rent.
Jimmie looks up at the ceiling as if he can’t deal with this right now.
JIMMIE
Hello Miss Grendal. I know I’m late on
rent.
MISS GRENDAL
Don’t tell me you don’t have it. You know that’s the problem with you lazy immigrants you come here and take our jobs then you don’t want to do anything or pay for anything.
JIMMIE
I have lived in country for over twenty years now. I am business owner and give jobs to people, and I don’t feel like having argument right now.
MISS GRENDAL
Listen, you communist piece of shit when I want my money you better have it for me.
JIMMIE
I will have money at end of week.
MISS GRENDAL
Yeah, when you’re done fucking goats
get me my money, Rusky!
Jimmie turns his head and looks at Miss Grendal with such distain. He enters a state of shell shock.
She walks away from Jimmie to walk down the hall and collect rent from someone else.
Jimmie finds the key very fast.
INT. JIMMIE’S APARTMENT
Jimmie jumps into the apartment and grabs a meat cleaver off of the sink.
INT. OUTSIDE JIMMIE’S APARTMENT
He rushes to Miss Grendal with the meat cleaver.
Miss Grendal hears a hacking noise, very loud. She looks down at her right arm and lifts up the half of her bicep that she still has. As she opens her mouth to let out a scream a slash noise rings in her ears. No noise peaks out of her mouth, her throat has been slashed.
She slowly turns around to see a crazed look in Jimmie’s eyes. The meat cleaver is hacked into Miss Grendal’s forehead, knocking her to the ground.
He raises the meat cleaver into the air and slams it into Miss Grendal’s head and into the floor. He pries the cleaver out of the floor and back into her head over and over.
JIMMIE
Not goat-fucker! Not goat-fucker! Not goat-fucker!
He stops hacking into her head then realizes that he has just murdered the Super.
JIMMIE
Oh shit!
He quickly cuts the throw rug that lines the hallway floor and wraps the body into the rug then drags it into his room. The door shuts.
A few second go by then the door swings open. Jimmie jumps out and grabs the arm lying on the floor and rushes back into the apartment.
INT. JIMMIE’S APARTMENT – NIGHT
There is a knock at the door. Jimmie opens the door with no shirt on and a towel around his waist.
INT. OUTSIDE JIMMIE’S APARTMENT
The door slightly opens. Officers Maynard and Wallace are standing at Jimmie’s door.
Jimmie slams the door as soon as he sees the two officers.
The door slightly opens again.
JIMMIE
Can I help you officers?
OFFICER MAYNARD
Yes, we have a few questions about what happened with you and Rebecca Jeetars. May we come in?
INT. JIMMIE’S APARTMENT
Jimmie looks down at the bloody rug wrapped around a dead body, then back out at the Police Officers.
INT. OUTSIDE JIMMIE’S APARTMENT
Jimmie has a stunned look on his face.
JIMMIE
Actually, Officers right now is not a good time. I am repainting apartment and I have shit everywhere. I can get dressed and come to station with you to give statement.
Officer Maynard is surprised that Jimmie wants to go to the station.
OFFICER MAYNARD
Urg, okay. We can all go to the station together. We’ll just wait here while you get dressed.
Officer Wallace is looking at the rug stop at a certain spot.
OFFICER WALLACE
Hey, what happened to the rug out here?
Jimmie has the, ‘deer-in-the-headlights” look.
JIMMIE
I—accidentally spilled paint so I cut rug so Super won’t lose head.
OFFICER MAYNARD
Yeah, that makes sense. Why don’t you go ahead and get dressed and we’ll take you to the station.
JIMMIE
Okay will be a moment.
Jimmie shuts the door.
OFFICER WALLACE
Kind of a weird guy.
OFFICER MAYNARD
Listen, the guy’s girlfriend just got the shit kicked out of her and we show up right after he takes a shower. You would be acting weird too.
OFFICER WALLACE
I’m just saying that he has a suspicious vibe going on like he might have been the one to beat on that girl.
OFFICER MAYNARD
Five bucks says that he didn’t do it.
OFFICER WALLACE
Okay, five bucks says he beats on women.
The door quickly opens and produces Jimmie faster than the officers can see the door close.
JIMMIE
Okay, we go.
INT. THE POLICE STATION - NIGHT
There are a few patrons in the lobby of the police station. A couple of hookers and old lady complaining about her neighbors television being too loud.
Officer’s Maynard and Wallace along with Jimmie enter the station’s front doors. They crossover from the lobby area and enter a conference room.
At the same time Jimmie enters the conference room, Detective Jenkins exits Chief Brampton’s office followed by the Chief. The Chief makes an announcement to the staff.
CHIEF BRAMPTON
Alright everyone listen up. We have a new Detective working with us, Detective Boregard Jenkins. Now Detective Jenkins comes to us from Las Vegas. He worked a very difficult case out there and was promoted over here to work Homicide.
While Chief Brampton is introducing Detective Jenkins, two Homicide Detective’s, Mike Brewer and Seth Faustian are talking amongst themselves about their newest Detective.
DETECTIVE BREWER
So you hear about this new guy?
DETECTIVE FAUSTIAN
Today is the first day I heard about him.
DETECTIVE BREWER
I found out that he worked U.C. out in Vegas and he did it for so long that he’s on a kind of loop where he thinks he is still U.C.
DETECTIVE FAUSTIAN
Was he working drugs?
DETECTIVE BREWER
No, human trafficking. The guy thinks he is still a pimp.
DETECTIVE FAUSTIAN
You’re fucking kidding me?
DETECTIVE BREWER
I shit you not. That’s not even the best part, the guy’s got Tourettes Syndrome.
DETECTIVE FAUSTIAN
What the fuck are you talking about?
DETECTIVE BREWER
Like, you’ll be in the middle of a conversation with him and he’ll blurt out something obscene.
DETECTIVE FAUSTIAN
No, way. How do you know this shit?
DETECTIVE BREWER
I intercepted his Psyche File. Apparently he needs to see a therapist to work out his issues that he acquired while working in Vegas.
DETECTIVE FAUSTIAN
How the fuck is he working Homicide with all of these problems?
DETECTIVE BREWER
Yeah, well it turns out that he’s smart; he scored an insane number on his SAT’s so he’s like a genius.
CHIEF BRAMPTON
Detective Jenkins will be paired up with Detective Faustian. So let’s make him feel welcome to the N.Y.P.D.
The room claps for their new Homicide Detective.
DETECTIVE FAUSTIAN
(To Detective Brewer)
What?
Detective Brewer laughs to himself.
DETECTIVE BREWER
Holy shit this is funny. Good luck.
DETECTIVE FAUSTIAN
Yeah, fuck you Brewer!
Detective Faustian raises his arm for Detective Jenkins to see. Detective Jenkins sees his arm and makes his way over to his new partner, shaking the hands of his fellow colleagues on the way over to introduce himself.
DETECTIVE FAUSTIAN
Hi. I’m Seth Faustian—
As Detective Faustian reaches out and shakes Detective Jenkins hand, Jenkins pulls his fire arm with his other hand and points it at Detective Faustian’s head while over powering the handshake and bringing Detective Faustian to his knees. The rest of the department starts to go for their fire arms.
DETECTIVE FAUSTIAN
(Surprised)
Whoa!
DETECTIVE JENKINS
I said if you didn’t pay that I was going to find you.
DETECTIVE FAUSTIAN
Holy shit! I’m going to fucking die!
DETECTIVE BREWER
(To Detective Jenkins)
Okay calm down, buddy listen, we’re all here for you.
DETECTIVE JENKINS
(To Detective Brewer)
Yo, man you making me nervous, you creeping up on me the way you creeping.
DETECTIVE BREWER
Alright I’ll stop moving, I’ll stop moving, alright?
DETECTIVE JENKINS
This shit isn’t about me. Look at my bitch’s face.
Detective Jenkins points to a female cop using his firearm, Officer Nickels.
OFFICER NICKELS
What’s wrong with my face?
DETECTIVE FAUSTIAN
What do you want?
Detective Jenkins points the gun back at Detective Faustian.
DETECTIVE JENKINS
Oh. Now you want to renegotiate the fee, now that you made me pull my gun on you. You’re going to pay me five hundred dollars to fix what you did to this bitch’s face.
OFFICER NICKLES
Okay seriously what’s wrong with my face?
While Officer Nickels pulls out a compact and checks her face out, Detective Jenkins gets a hold of himself and realizes that he is in the Police Station with a gun to his partners head.
DETECTIVE JENKINS
(To Detective Faustian)
Now this is the shit I’m talking about. You motherfuckers are so unprepared. Look at this guy—
(Points to Detective Faustian)
--instead of disarming me he has already prepared to die with a load in his drawers.
Detective Brewer and the other officers are confused about what Detective Jenkins is talking about.
DETECTIVE JENKINS
What? You think because I don’t wear a turban and smell like a Circle K that I’m not a terrorist? Now this time it’s just a hypothetical but next time it won’t be and I want you all to think about that.
Detective Faustian looks down at the gun that is still in his face.
Detective Jenkins looks at his gun then puts it away.
DETECTIVE JENKINS
Aw, shit, my bad.
Everyone in the room takes a deep breathe and relaxes. Detective Jenkins helps his partner up from the ground.
DETECTIVE JENKINS
It’s Detective Faustian right?
DETECTIVE FAUSTIAN
Yeah.
DETECTIVE JENKINS
I’m Bo Jenkins. I’m very sorry,
(Tourettes)
Bitch!
(Normal)
I’m sorry, but word on the streets is that this precinct was the most prepared for a nine-twelve situation and I’m sad to tell you that you are nowhere near prepared for a situation…
(Tourettes)
Cracker!
Detective Jenkins takes a moment to breathe and compose himself.
DETECTIVE JENKINS
I’m sorry.
DETECTIVE FAUSTIAN
Okay, yeah I heard that you’re a little eccentric.
Detective Jenkins is puzzled at the comment.
DETECTIVE JENKINS
What did you just say?
Detective Faustian realizes what he just said and tries to cover up.
DETECTIVE FAUSTIN
What I mean… ugh is that, I’m—you—I’m going to show you to your desk. Just follow me.
Detective Faustian walks him to the back of the station to show Detective Jenkins around.
Meanwhile, Jimmie and Officers Maynard and Wallace exit the conference room.
OFFICER WALLACE
If we have anymore questions we’ll give you a call.
JIMMIE
Okay Officers.
OFFICER MAYNARD
Would you like us to give you a lift back to your apartment building?
JIMMIE
Oh, no thank you. I can take subway. Have good night Officers.
Jimmie walks out of the station. Just then Detective Jenkins turns around, as if there is something important that he is missing. The door to the lobby closes; Jimmie has already left the station.
Detective Jenkins looks around then back to his partner who is still showing him around.
END SCENE
INT. SUBWAY - NIGHT
Jimmie is sitting on the subway with only one thing on his mind, to hide the body. As he is thinking there is a disturbance at the other end of the subway car. Three guys, Darnell, Worm and Leo, dressed up like street thugs begin harassing the patrons of the car for money.
WORM
Give me that.
Worm just grabs an old ladies purse and takes her wallet.
OLD LADY
What the—
Leo grabs her face and pushes her back down to her seat while Darnell pulls a gun and shoves it into her face.
DARNELL
We got a problem here?
OLD LADY
(Scared)
No.
The gang sits down by the old lady waiting for the train to stop then head back into the tunnels.
Jimmie see there is a stop coming up so he gets up and acts like he doesn’t notice them. He walks over to the nearest exit closest to them. The train stops and the doors swing open.
Jimmie grabs the overhead handrail and swing kicks Darnell’s chest. Darnell drops the gun and is stunned from the attack. He quickly flees off of the subway and retreats to the streets. Leo and Worm run after him. Darnell picks himself off the ground and stumbles out of the subway.
DARNELL
Get that motherfucker!
EXT. TENTH STREET AND CORNELL
Jimmie is running down the street with Worm and Leo not far behind. He looks at a sign on a building that appears to be condemned by the city. He hangs a left into an alley way with Leo on his tail.
Jimmie enters a door that leads into a hallway underneath the condemned building.
INT. BASEMENT OF CONDEMEND BUILDING
The interior of the basement was destroyed by fire before the city decided to tear it down.
Leo enters the building and looks around in the darkness for Jimmie.
LEO
Hey! Come out, don’t be such a pussy.
A breaking pipe noise is heard in the distance. Leo rushes over to the area to see the wall broken up where a water line used to be. He turns around and catches a pipe to the face. Leo falls to the ground and starts to yell out when the pipe drops into his mouth and pries out his jaw bone killing him instantly.
Worm and Darnell enter the building at the same time.
DARNELL
Leo!
WORM
Leo! Where are you?
Darnell points Worm down one hallway while he takes another.
Worm comes across Leo’s body.
WORM
Yo, D!
Darnell shows up to see Leo’s body.
DARNELL
We’re going to kill you mother-fucker!
The sound of footsteps rushing up the stairs is heard not far away.
DARNELL
(To Worm)
There is another set of stairs back where we came from. You yell out what floor you are on. As soon as either one of us knows which floor he’s on we’ll trap his ass.
WORM
Got it.
Worm rushes up the stairs while Darnell rushes to the back of the building.
INT. THIRD FLOOR OF CONDEMEND BUILDING
Worm runs up the stairs and is about to rush up to the forth floor when a sound is made in one of the rooms.
WORM
D, get up to three!
INT. BASEMENT OF CONDEMNED BUILDING
Darnell rushes up the stairs.
INT. THIRD FLOOR OF CONDEMNED BUILDING
Worm ventures toward the room. As he walks to the room Jimmie rushes out of the darkness behind Worm with a fire axe.
Worm turns around.
INT. STAIRWELL OF CONDEMNED BUILDING
As Darnell rushes up the stairs…
WORM
(Screams)
Ahh!
Darnell stops and listens to the last cry of Worm. He continues on.
INT. THIRD FLOOR OF CONDEMNED BUILDING
Darnell runs to the area that Worm screamed in and as soon as he turns a corner he stops and sees his fellow gang member on the ground hacked into bits lying in a pool of blood.
DARNELL
Fuck this shit!
Darnell runs down the stairs that Worm took to trap Jimmie and makes a break for it.
INT. FIRST FLOOR OF CONDEMNED BUILDING
Darnell hops over the hand rail and runs to the door leading to Cornell Ave.
Jimmie beats him to the door, swings the axe and lops off the top of Darnell’s head right at the mouth.
The body falls to the ground and kind of keeps itself up before dropping flat.
Darnell’s eyes are moving back and forth. They fixate on Jimmie as he looks into the life fading form Darnell’s dying eyes.
JIMMIE
Now that is fucking creepy.
EXT. BACK OF CONDEMNED BUILDING
Jimmie walks out of the building the way he came in and looks at four large empty paint cans lying with some trash from the building.
EXT. TENTH STREET AND CORNELL
Jimmie is carrying the paint cans with him back to the subway. In one of the cans is the pipe and axe they he used to kill Darnell and his gang.
Across the street is Frank in an apartment building. Frank sees Jimmie walk out from an alley and head toward the subway.
INT. JIMMIE’S APARTMENT – NIGHT
Jimmie is on the kitchen floor which is covered in plastic as he uses a meat cleaver to hack Miss Grendal’s body up.
The other arm has been chopped off but the rest of the body is still intact with Jimmie sweating profusely. He looks up at the counter to see an electric knife and realizes that using this would help him in his endeavors.
EXT. JIMMIE’S APARTMENT BUILDING - MORNING
It is now about four o’clock in the morning.
Jimmie hauls a bucket across the street to his white van and places it inside the vehicle as carefully as he can.
He leaves the van to grab the other buckets.
EXT. JIMMIE’S BUTCHER SHOP
Jimmie parks the van in the back alley dock where he would receive his shipments and opens his side sliding door.
He begins hauling one of the buckets into the business through the back door.
INT. JIMMIE’S BUTCHER SHOP
Jimmie walks the bucket down into the basement and places the bucket on the ground by the furnace. He lights the furnace and preps it for incinerating the body parts.
As soon as all the buckets are in the basement he begins tossing body parts into the furnace.
Jimmie finishes placing all the body parts into the furnace he dumps the remaining blood on the floor and allows the drain to hide the remaining evidence.
He sprinkles a powdered chemical on the floor and scrubs the powder into the ground destroying any traces of blood left on the floor. Using a garden hose he sprays the floor washing away any evidence left in his business.
INT. JIMMIE’S MEAT LOCKER – DAY
The business is now open and Frank is cutting meat. While Jimmie does inventory, just a normal, non-murderous day in the city of New York.
END SCENE
INT. DR. MARTHA GUTIERREZ’S OFFICE – DAY
Dr. Gutierrez is sitting at her desk while Detective Jenkins sits across the table from her.
DR. GUTIERREZ
In our first session we talked about your parents. We didn’t really talk about you growing up.
Detective Jenkins starts crying.
DETECTIVE JENKINS
She left me.
DR. GUTIERREZ
I know.
DECTECTIVE JENKINS
That fucking whore left me for a pimp.
DR. GUTIERREZ
I know.
Detective Jenkins stops crying.
DETECTIVE JENKINS
Did you know that she made pornos?
DR. GUTIERREZ
No, I did not know that.
Detective Jenkins starts crying again.
DETECTIVE JENKINS
She sent it to me when I was a kid. She wrote a letter to me when she finished filming and sent the video to me.
DR. GUTIERREZ
She sent a video to you?
DETECTIVE JENKINS
Yes, in the letter…
Detective Jenkins pulls a letter out of his jacket.
DR. GUTIERREZ
You have the letter?
DETECTIVE JENKINS
…she wrote dear Boregard. I want you to know that I gave you that name knowing that it would make you a strong man someday.
(Tourettes)
Fish Taco!
(Normal)
I’ve sent you this tape to show you that I don’t sleeps with mans anymore. I make movies now where I sleeps with woman’s and mans now. I love you honey and hope you think of me when watching this video.
Detective Jenkins pulls a videotape.
DETECTIVE JENKINS
This is the first video that she sent me.
DR. GUTIERREZ
Oh my God you brought the video. Did you want me to watch it?
Detective Jenkins looks at her as if to say, “how dare you?”
DETECTIVE JENKINS
You think I want you, my psychiatrist? to watch a movie of my mother fucking other people. What the fuck is wrong with you?
DR. GUTIERREZ
I was just thinking that…
DETECTIVE JENKINS
Yeah, well you was thinking wrong! Sick—You, you know you got demons. You got demons inside you and you need some help from Lord. You need some church in your life. Fucking crazy bitch! Would you?
Dr. Gutierrez composes herself not to cuss out Detective Jenkins.
DR. GUTIERREZ
Okay, Detective Jenkins, I would like to get back to your childhood. Now with your father as an Amputee and you Mother gone, what kind of things did you have to do as a child to survive.
FLASHBACK
INT. BOREGARD’S HOME AT AGE SEVEN - DAY
Bo walks into his dad’s bedroom. His father explains to him that he was going to have to find a job.
DETECTIVE JENKINS
(Narration)
President Regan was kicking people off of disability when I was younger.
(Tourettes)
Shit!
DETECTIVE JENKINS
(Narration)
So my Daddy told me that I was going to have to get a job. There was only one thing my daddy knew before the accident.
EXT. OUT ON THE STREETS OF VEGAS - NIGHT
Young Boregard is driving a white Cadillac on the streets of Las Vegas with two hookers, Kia and Shawnte.
Shawnte looks off to the side and sees a man that owes her money.
SHAWNTE
Hey, baby. That motherfucker over there owes me some money.
YOUNG BOREGARD
Now bitch! What the fuck have I told about money?
SHAWNTE
Oh yeah, that it’s not my money, it’s our money.
YOUNG BOREGARD
That’s right.
(Tourettes)
Fuck shit up!
KIA
That’s right baby, you know how to fuck shit up.
Young Boregard swerves his Cadillac off to the side walk. Kia, who’s in the passenger seat swings her door open and knocks the guy to the ground.
Bo stops the car after passing the guy they just hit.
YOUNG BOREGARD
Now, bitches, get our money!
The two hookers jump out of the car and run over to the guy that is struggling to get back to his feet.
Kia kicks him in the face while Shawnte raids his person and extracts his wallet from the inside of his jacket.
The girls start to run off but the guy grabs Kia’s leg. Shawte pulls a forty-five and puts two pills in him then they get back into the Cadillac.
Boregard speeds off with his girls flaunting the money that they just boosted.
SHAWNTE
Boregard, you’re the greatest pimp a girl could ever have.
KIA
Yeah baby.
YOUNG BOREGARD
You know it. Now, how about we make some more of this paper?
The girls laugh as they drive off to their next venture.
END FLASHBACK
INT. DR. MARTHA GUTIERREZ’S OFFICE – DAY
Dr. Gutierrez is astounded at the story that Detective Jenkins has just told.
DR. GUTIERREZ
At seven you were a pimp. You then trained at the local police academy to become a police officer, made Undercover as a pimp, to take down one of the worlds most notorious gangsters. Now you are here in New York City as a promoted Detective.
Just then Detective Jenkins phone rings. He picks up.
DETECTIVE JENKINS
(On the phone)
Yeah.
(Pause)
Alright I’m on my way.
(Tourettes)
Fag!
The Detective hangs the phone up and then gets to his feet.
DETECTIVE JENKINS
I’m going to have to cut this short.
(Tourettes)
My money!
DETECTIVE JENKINS
(Excited)
I’ve got my first case.
EXT. TENTH STREET AND CORNELL - DAY
The Crime Scene Unit is yellow taping the building. Police units have blocked off the street and Officers are creating detour signs to redirect traffic.
INT. FIRST FLOOR OF CONDEMNED BUILDING
Detective Faustian is talking with Officer Wallace.
DETECTIVE FAUSTIAN
I understand that you and your partner Officer Maynard were the first on scene.
OFFICER WALLACE
Yeah. A call came into the station that City Ordinance came in for preparation to demolish this building when they found this body right here.
Officer Wallace motions to Darnell’s headless body on the floor.
OFFICER WALLACE
That’s when my partner and I came to the scene.
Detective Jenkins enters the building putting on rubber gloves as Officer Wallace is giving his statement.
OFFICER WALLACE
We immediately spotted the first body here then called for backup and a coach. We searched the building to find two other bodies, one in the basement and the other on the third floor, just up those stairs down the hall.
DETECTIVE JENKINS
(Tourettes)
Cunt-motherfucker!
Officer Wallace and Detective Faustian are startled.
DETECTIVE JENKINS
Sorry.
Detective Faustian turns his attention back to Officer Wallace
DETECTIVE FAUSTIAN
Alright, I think that will do it. Why don’t you work crowd control?
OFFICER WALLACE
Okay.
Officer Wallace leaves the room and goes outside to help his fellow officers.
DETECTIVE JENKINS
We got pictures yet?
DETECTIVE FAUSTIAN
Yeah, they are finishing upstairs right now.
Detective Jenkins takes a knee by the head.
DETECTIVE JENKINS
Yeah somebody done killed your ass.
DETECTIVE FAUSTIAN
This guy belongs to the Twenty-second Street Gang. They work an area not to far from here. They’ve recently taken an interest in the subway.
The eyes roll around startling Detective Jenkins
DETECTIVE JENKINS
What the—
The Detective kicks the head down the hall.
DETECTIVE FAUSTIAN
Oh yeah, that’s not contaminating the evidence at all.
DETECTIVE JENKINS
It looked at me! I ain’t into that shit!
DETECTIVE FAUSTIAN
Anyway, as far as weapons we don’t have anything yet but when I walked with the guy from City Ordinance he noticed that on a wall near the body from the basement was ripped open, a pipe had been ripped out of the wall.
Detective Jenkins begins to roll the body over.
DETECTIVE JENKINS
This guy wasn’t killed with no pipe.
DETECTIVE FAUSTIAN
Yeah, we are on the look out for another weapon.
The body rolls over and the right hand has a gun in clutch. The body twinges and pulls the trigger, firing a bullet at Detective Faustian. The bullet almost hits him in the head and enters the wall behind him.
DETECTIVE FAUSTIAN
Oh, shit!
The Detective begins feeling on his head and body for bullet wounds, spinning around.
DETECTIVE FAUSTIAN
Oh, shit it got me!
Detective Jenkins is amused.
DETECTIVE JENKINS
Yo, hey it didn’t get you man.
Detective Faustian stops spinning around dramatically and faces Detective Jenkins.
DETECTIVE FAUSTIAN
I’m alive!
DETECTIVE JENKINS
Yeah, you ain’t dead man.
DETECTIVE FAUSTIAN
Alright, we need to talk to some of the local business owners. There is a shop next to this place. There is also a Church right behind us.
INT. JIMMIE’S OFFICE – DAY
Jimmie is checking out the businesses numbers compared to his inventory count. Jennifer knocks on the door and peaks her head into the room.
JIMMIE
What is it Jennifer?
JENNIFER
Those guys from yesterday are back, and want to talk to you.
Jimmie takes a breath of annoyance.
INT JIMMIE’S BUTCHER SHOP
Jimmie walks into the room from the meat locker. Jennifer hangs out at the cash register while Jimmie conducts business by the front door with Yuri and Viktor.
JIMMIE
How can I help you?
VIKTOR
Have chance to think about protection?
JIMMIE
I am not interested in doing business with your boss so you should leave.
Viktor looks outside then back at Jimmie.
VIKTOR
How is girlfriend?
Viktor has now enraged Jimmie. Jimmie looks over at a set of butcher knives for sale wrapped in hard plastic that he sells to his customers.
Viktor looks at the set of knives then back at Jimmie.
VIKTOR
So, you want to dance?
Jimmie looks at Viktor who is packing heat under his jacket.
VIKTOR
Listen, tough guy I am patient man, my boss, not so much. Be here after business closes and employees gone for day, alone, or I give order to kill girlfriend in hospital.
Jimmie looks at Viktor with disgust as Viktor and Yuri leave his business.
Jimmie watches them get into their Black Lincoln Navigator and drive off.
JIMMIE
Jennifer, I am leaving. Close shop for me later.
INT. IRA’S SEX SHOP
Detective’s Jenkins and Faustian walk into the shop. Faustian looks around at all the various devices.
Detective Faustian picks up a pocket pussy off of a shelf.
DETECTIVE FAUSTIAN
What the fuck is this?
DETECTIVE JENKINS
That’s a pocket pussy. You stick your dick in that and it creeps up and down on you.
DETECTIVE FAUSTIAN
How the fuck do you know that?
Detective Jenkins clears his throat before answering.
DETECTIVE JENKINS
I’ve seen it used before.
DETECTIVE FAUSTIAN
On who?
DETECTIVE JENKINS
Why you asking me so many questions? If you want the mother-fucker then just buy it. I’m not going to judge you for what you buy.
DETECTIVE FAUSTIAN
I’m not buying this.
DETECTIVE JENKINS
Let’s just do this thing.
(Tourettes)
Bitch!
Veronica, the store cashier is at the back of the store behind the register. The two Detectives walk up to her at the same time they pull out their badges.
DETECTIVE JENKINS
Hello, my name is Detective Jenkins and this is Detective—
(Tourettes)
Fuck face!
(Normal)
Detective Faustian, we need to ask you a few questions?
VERONICA
Yeah.
DETECTIVE FAUSTIAN
Were you here around three this morning?
VERONICA
No.
DETECTIVE FAUSTIAN
Is there someone here who was here around that time?
VERONICA
Yes, the owner, Ira.
DETECTIVE JENKINS
(Flashback)
Well then get him out here so I can get my money!
VERONICA
What?
DETECTIVE FAUSTIAN
What my partner is trying to say is that we need to talk with him for a moment.
VERONICA
Okay, I’ll go get him.
Veronica exits the room.
DETECTIVE JENKINS
(Flashback)
Don’t forget the money.
DETECTIVE FAUSTIAN
Hey, can you put the pimp game away.
Detective Jenkins gives Faustian a dirty look.
DETECTIVE JENKINS
Giving up the pimp game is like giving up your money. And no pimp is just going to give up their money.
Ira walks out from the back room and introduces himself.
IRA
Hello, my name is Ira what can I interest you in?
DETECTIVE FAUSTIAN
We actually need—
IRA
Ah, you need pocket pussy?
Ira rushes to the shelves with the different pocket pussies.
DETECTIVE FAUSTIAN
No we need some—
Ira picks up the various pocket pussies he has on hand.
IRA
We have black pussy, we have white pussy, we have brown pussy—
DETECTIVE FAUSTIAN
Yeah I’m sure you have a lot of pussy we need—
IRA
Oh, I get it your not into pussy. You are into boys?
Both Detectives look at one another then back at Ira
BOTH DETECTIVES
No!
DETECTIVE JENKINS
Can I see that white pussy?
Detective Faustian can’t believe his ears then looks at Veronica and gets a little embarrassed.
DETECTIVE FAUSTIAN
Can we talk somewhere a little more private?
DETECTIVE JENKINS
What the fuck you mean? It don’t get more private then this motherfucker.
IRA
You like dolls?
INT. IRA’S BACKROOM TREASURE TROVE
Ira’s backroom is filled with animatronic sex dolls, along with shipment equipment. Different races and sizes are hanging all around the room.
Ira lets the two Detectives into the room.
DETECTIVE JENKINS
What the fuck, this is like some creepy
Silence of the Lambs shit.
DETECTIVE FAUSTIAN
These are all sex dolls?
IRA
Yes, most are for internet sale. I show favorite customers my collection for sale.
DETECTIVE JENKINS
Well as flattering as we feel right now we need some questions answered.
IRA
What questions.
DETECTIVE JENKINS
Three,
(Tourettes)
Bitches!
DETECTIVE JENKINS
Gang members were killed in the building next door and we were wondering if you might have seen anything?
As Jenkins and Ira talk Faustian looks at a doll standing right next to him and smiles at it. He then gets uncomfortable with the fact that he just smiled at a doll and focuses back on the conversation.
IRA
What time did you say this happened?
DETECTIVE JENKINS
Around three.
Detective Faustian looks back over at the doll and squeezes its ass, then pulls his hand away real fast before someone notices. He sees that the coast is clear and starts to grab the ass and slide his middle finger up the dolls vagina.
DOLL
Oh yeah, just like that baby.
The detective holds very still as if he would become invisible to everyone in the room. Fortunately, Ira and Jenkins are caught up in there discussion.
IRA
I don’t remember anything happening around that time.
DOLL
Oh, fuck me with that huge dick!
Detective Faustian is completely fingering the doll.
DETECTIVE FAUSTIAN
Hey, Jenkins you have to feel this. It feels so real it’s even lubricated.
IRA
Is not lubrication. Is tester!
DETECTIVE JENKINS
What do you mean tester?
IRA
Is tester. Was just used by customer.
Detective Faustian has a disgusted look on his face and pulls his fingers out of the doll, making a distinctive noise. He puts his hand up to see the man-passion dripping down his fingers with a petrified look.
DETECTIVE FAUSTIAN
No!!!
END SCENE
EXT. OUTDOOR SKATING RINK – DAY
Jimmie walks along the street and watches the people on the ice, skating. He is a man deep in thought as he puts a call into someone on the phone.
JIMMIE
(On the phone)
Hey, I know you’re with your girlfriend right now but I need your help.
END SCENE
INT. CATHOLIC CHURCH – DAY
Mass is currently being given to the people sitting in church. The Priest is giving a sermon as Detectives Jenkins and Faustian walk into the Church.
DETECTIVE JENKINS
(Tourettes)
Suck it!
The whole congregation turns to look at Detective Jenkins who is acting normal and Detective Faustian with the deer in the headlights look.
The congregation turns back to the sermon. Detective Faustian looks at Detective Jenkins and mouths, “What the fuck?”
DETECTIVE JENKINS
What?
The congregation turns back to look back at the two Detectives.
CLERGYMAN EDWARDS approaches the two Detectives.
CLERGYMAN EDWARDS
May I be of help to you?
EXT. THE CHURCH CEMETARY
The two Detectives and Clergyman Edwards walk in the field of the Cemetery.
CLERGYMAN EDWARDS
Yes, I do remember four men going into the building. The first man ran in as if he were hiding from the other three men.
DETECTIVE FAUSTIAN
Why didn’t you call the police?
CLERGYMAN EDWARDS
I didn’t know what exactly was going on. I have seen a lot of people lately doing those scavenger hunts.
DETECTIVE JENKINS
(Tourettes)
Fag—fuck boys!
CLERGYMAN EDWARDS
(Angered)
How dare you sir!
DETECTIVE FAUSTIAN
No! He has Tourettes.
CLERGYMAN EDWARDS
Oh, you know Tourettes was once thought to be a sign of demon-possession.
DETECTIVE JENKINS
Yeah and the Catholic Church has no problem hiding child-molesters from the law. Now did you get a good look at them?
CLERGYMAN EDWARDS
Actually, no. I was in the Bell tower. All I could see were there shadows.
DETECTIVE JENKINS
So you don’t have anything?
CLERGYMAN EDWARDS
Well there is one thing.
DETECTIVE FAUSTIAN
What is it?
CLERGYMAN EDWARDS
The one that left the building he had an accent, Russian.
DETECTIVE JENKINS
Well, that kind of narrows the list down.
Detective Faustian gets a call.
DETECTIVE FAUSTIAN
Yeah,
(Pause)
You got it.
The Detective hangs up the phone.
DETECTIVE FAUSTIAN
That was Eddie. We’re going to the Morgue.
END SCENE
INT. REBECCA’S HOSPITAL ROOM – EARLY EVENING
Rebecca and her friends, Carla and Ginger are talking amongst themselves when Jimmie knocks on the door. The door is partially cracked so they can see who is outside the room.
REBECCA
Jimmie.
Jimmie walks into the room with flowers.
JIMMIE
Hey Rebecca.
GINGER
What do you want Rusky?
REBECCA
Ginger!
GINGER
What, he fucking let this happen to you!
CARLA
Ginger lets give them a moment.
GINGER
(To Jimmie)
You listen to me buddy. You touch her and I’ll kill you! You got that?
There is an uncomfortable silence between the two of them. Jimmie realizes that she is waiting for an answer.
JIMMIE
Oh, ah okay I will not harm her.
Carla and Ginger leave the room to give Rebecca and Jimmie some privacy.
REBECCA
Ginger is very protective.
JIMMIE
Yeah, I get that. I am sorry about what happen to you and will make right what I have done wrong.
REBECCA
Jimmie it’s—
VIKTOR
(To Dimitri)
Boss. Boss.
END SCENE
INT. DIMITRI’S SECRET BASEMENT – PRESENT TIME
Dimitri stops telling the story to his guest and looks up at Viktor.
DIMITRI
What?
VIKTOR
I have to use restroom.
DIMITRI
Hold it.
VIKTOR
I’ve been holding it. But I can not hold it anymore.
Dimitri rolls his eyes up.
DIMITRI
Fine go. It is not like he is going anywhere. By the time I’m finished with story then you can kill him.
The guest looks up in fear.
DIMITRI
(To the Guest)
Just kidding. Where were we?
GUEST
Jimmie was at Hospital.
DIMITRI
Oh yes, while Jimmie was at hospital…
END SCENE
INT. THE MORGUE – NIGHT
DR. HORACE BAKERMAN is performing an autopsy, hovering over the dead body of nineteen year old ASHELY COOPER. With a gunshot wound to the head, her last occupation if you were to guess by her clothes would have been Prostitute. The Doctor starts undressing her.
DR. BAKERMAN
Oh, I bet you were a naughty little bitch weren’t you?
Dr. Bakerman reveals her breasts.
DR. BAKERMAN
Such a waste. You know if you were still alive I would have stuck it to you.
Dr. Bakerman looks at the door to the hallway and back at the girl’s pelvis which is still clothed with a skirt.
DR. BAKERMAN
I know you’ve got something for daddy.
The good Doctor puts his hand up the skirt and starts feeling around inside the dead body.
DR. BAKERMAN
Ah still soft to the touch and…
He pulls out a bag with four joints in it.
DR. BAKERMAN
Papa’s got a brand new bag.
DETECTIVE FAUSTIAN
What’s up Doc?
DETECTIVE JENKINS
That is a girl that didn’t pay her dues.
The Doctor stuffs the weed into his apron.
DR. BAKERMAN
Yeah, this one was cut short in her prime.
The two Detectives gather around the table and look down on her as if she was a cute little bunny.
DR. BAKERMAN
She’s up in Whore Heaven now.
Detective Jenkins looks up at Dr. Bakerman.
DETECTIVE JENKINS
You know you’re a sick motherfucker?
DR. BAKERMAN
Yes, I know. But I’m betting you’re not here to see Jane here. You got the dudes in the next room.
INT. THE NEXT ROOM
Dr. Bakerman uncovers the bodies showing the various distorted ways they died.
DR. BAKERMAN
Now the Headless Horseman here only told me one thing. The perp has brute strength.
DETECTIVE FAUSTIAN
How’s that?
DR. BAKERMAN
He did this in one swing of whatever it was he used to decapitate this one. I did note that there were rust marks and soot.
DETECTIVE JENKINS
(Tourettes)
Retarded pussy!
DETECTIVE JENKINS
The building was burned down. The firefighters might have left an axe behind in the building.
DETECTIVE FAUSTIAN
So we are looking for a bloody axe and a pipe.
DR. BAKERMAN
Now this guy told me who he was. Deep cuts, all into arteries.
DETECTIVE FAUSTIAN
He’s a Doctor?
DR. BAKERMAN
No.
DETECTIVE JENKINS
He is someone who cuts into meat for a living.
DR. BAKERMAN
My friends, he’s a Butcher!
DETECTIVE FAUSTIAN
I’ll go back to the station and research Butcher shops.
DETECTIVE JENKINS
(Tourettes)
Fuck—bitch-balls!
DETECTIVE JENKINS
I’ll go back to the scene and see if I can get a better description.
DR. BAKERMAN
Now get out of here I’ve got some fresh cooch-weed to smoke.
END SCENE
INT. JIMMIE’S VAN – NIGHT
Jimmie is on his way back to his Butcher Shop to handle the Russians. He sits deep in thought while he listens to some intense music.
END SCENE
EXT. TENTH STREET AND CORNELL
Detective Jenkins is at the scene which is still blocked off. He look at the buildings around him and checks a clipboard with address listings.
Frank walks up to the Detective.
FRANK
Hey what happened?
DETECTIVE JENKINS
Oh, there were some—
(Tourettes)
Cock-holes!
(Normal)
I mean gang members that were killed in that building.
FRANK
Whoa, when did that happen?
DETECTIVE JENKINS
Around three last night.
FRANK
Wow, I’m glad Jimmie’s alright.
The Detective gives Frank his full undivided attention.
DETECTIVE JENKINS
Who’s Jimmie?
FRANK
He’s my boss. He runs a Butcher Shop on Quayle and Third.
DETECTIVE JENKINS
Was Jimmie here last night?
FRANK
Yeah, I saw him taking some paint cans to the subway. We needed some containers for the shop.
DETECTIVE JENKINS
Your boss isn’t Russian is he?
FRANK
Hey that’s a good guess.
END SCENE
EXT. JIMMIES BUTCHER SHOP – NIGHT
Jimmie is standing in front of his shop. The lights are out and it doesn’t seem like anyone is inside.
INT. JIMMIE’S BUTCHER SHOP
Jimmie walks into the shop. He doesn’t hear anyone which makes him feel as if that he is alone. He starts to walk to the back of the store when an assailant breaches the shadows and grabs him from behind.
With a twist of his body and momentum, Jimmies throws his assailant toward the front door, turns and runs for the meat locker.
INT. JIMMIE’S MEAT LOCKER
As Jimmie rushes into the meat locker he quickly grabs a meat cleaver and turns to watch his assailant burst in with a gun drawn. Jimmie throws the meat cleaver like a ninja. The cleaver hits the assailant in the face, killing him instantly. Just then, pipe smashes Jimmie in the back of the head knocking him out.
END SCENE
INT. POLICE STATION - NIGHT
Detective Jenkins is talking with the Officers that are going to work the raid on Jimmie’s Apartment. Officer Nickels is passing out information on Jimmie to the rest of the force.
DETECTIVE JENKINS
Right now we are waiting for—
(Tourettes)
Cocksucker motherfucker!
DETECTIVE JENKINS
-Judge Lewis to give the okay to raid the perp’s Apartment and Butcher shop.
Detective Faustian comes out of the Chief’s Office with a warrant.
DETECTIVE FAUSTIAN
We got it.
DETECTIVE JENKINS
Okay—
(Tourettes)
b-b-b-bithches!
(Normal)
We’re heading for the Apartment first.
The two Detectives and fellow Officers head for the back of the station leading to the Station’s Vehicle Warehouse.
END SCENE
INT. JIMMIE’S BUTCHER SHOP – NIGHT
Jimmie is out, tied to a chair, much like his uncle was when he was a young man. Yuri stands above Jimmie and throws a punch into his face.
He wakes up and starts to laugh.
JIMMIE
So this is your so-called protection?
Dimitri who is sitting behind Yuri responds.
DIMITRI
We never intended to protect you.
Yuri moves out of the way.
JIMMIE
Who are you?
DIMITRI
Dimitri Evpraksiya but you would only remember me through your first kill.
JIMMIE
Back in Moscow?
DIMITRI
Yes, in your Uncle’s shop.
JIMMIE
He worked for you?
DIMITRI
Oh, I don’t initiate vendettas for people who work for me. He was my son.
JIMMIE
Well that is shame.
DIMITRI
It is. You see, at first, I blame the man who was watching over my son. But for some reason that wasn’t good enough. So then I go after your cousin, to kill him and show to your Uncle, because misery loves company. After never finding him it dawned on me to go after actual killer which I couldn’t find for the longest time. But I did find you.
JIMMIE
Congratulations.
DIMITRI
Thank you. I learned so much about you. A life of down fall, starting with your father’s death. I have given you a name for what you became, before you became a murdering son-of-bitch, the Ice Dancer.
JIMMIE
Great, not only am I going to die but I’m going to die a Disney Character.
DIMITRI
You know I saw the tape of your preliminaries you were amazing. Vladimir Kovalev took the silver home in 76 but you would have brought home the gold if the politician’s son had not entered the same year as you.
Viktor and Yuri drag the body of the assailant into the room. Yuri pulls out a pair of pliers while Viktor holds a zip-lock bag open. Yuri then proceeds to pull the teeth out of the assailants head and place them into the zip-lock bag.
JIMMIE
I was able to let go of that past. It does not haunt me anymore.
DIMITRI
That is where you are wrong. Your recent activities would suggest that you are suffering from reoccurring memories of the past. I know about the bodies, even your buildings Super.
JIMMIE
What can I say, she was a bitch.
END SCENE
INT. JIMMIES APARTMENT – NIGHT
The front door bursts open and two S.W.A.T. officers enter the premises with guns drawn. They survey the room.
S.W.A.T. ONE
Living room clear.
They walk into another room in the back.
Detectives Faustian and Jenkins walk into the living room. Faustian checks the kitchen out and looks over the different knives that Jimmie has on the counter.
Jenkins looks down on a coffee table and sees a sealed envelope with the name Rebecca written on it. He grabs the envelope and opens it to read the letter inside.
The Detective glances over the letter and reads to himself its contents. He grabs his radio.
DETECTIVE JENKINS
We need to—
(Tourettes)
Give it-t-t a pinch!
(Normal)
We need to get over to the Butcher Shop something is going down there.
END SCENE
INT. JIMMIE’S BUTCHER SHOP
As Jimmie is sitting across from Dimitri, Viktor gets a call.
VIKTOR
Yes?
(Pause)
Okay.
Viktor steps away from holding the zip-lock bag and whispers something into Dimitri’s ear.
Dimitri nods his head and looks up at Jimmie. Viktor retreats to the meat locker.
DIMITRI
Well, it has been fun catching up but I must say goodbye.
JIMMIE
Oh that’s too bad. You should take some steak home, I have some juicy rib eye to die for.
DIMITRI
You know I would but the Doctor has me on a strict diet, no red meat.
Viktor returns with a gas can and starts spreading gasoline throughout the establishment.
JIMMIE
How very familiar.
DIMITRI
I like to stick to the classics.
Dimitri stands up and walks to the front entrance. Yuri has pulled all the teeth and rushes out of the building to get the Navigator.
DIMITRI
How fitting that you will be the one to die just like your Uncle was supposed to back in Moscow. Enjoy the bar-b-que.
Dimitri puts on his hat and leaves the building.
Viktor finishes with the gas can and walks up to Jimmie.
JIMMIE
Can I help you?
VIKTOR
How’s your head?
Jimmie gets serious.
VIKTOR
You are probably dying of a concussion anyway. You had a strong girlfriend I thought for sure she was dead.
JIMMIE
Fuck you!
Viktor laughs as he walks towards the front exit. Jimmie struggles to break the bonds that tie him to the chair but it’s no use. Viktor lights up a match and flicks it into a puddle of gasoline on the floor.
It doesn’t take long before the flame lights up the entire wall. The front of the store is consumed with flames and then the wall behind Jimmie. The fire gets on his pants and dances its way up his shirt.
Jimmie laughs out loud so the Russians can hear him one last time, as the flames crawl up his face.
EXT. JIMMIE’S BUTCHER SHOP
Dimitri watches as the build lights up with flames. There is a kind of sadness that comes over him as he realizes that his long life vendetta is over.
DIMITRI
Good night, Ice Dancer. May angels carry you to the frozen hell that awaits you.
The window rolls up and the vehicle slowly drives off as the Police drive down the street and stop in front of the burning building.
END SCENE
INT. DIMITRI’S SECRET BASEMENT – PRESENT TIME
Dimitri sits across from his guest.
DIMITRI
And that is the story of the Ice Dancer.
GUEST
Jimmie was right that is a gay name.
Dimitri looks around the room impatient.
DIMITRI
I am going to let you sit there and think about what you have done to me and I will be back with my answer whether or not I will kill you.
GUEST
Please take your time.
Dimitri gets up and walks up the stair way to his car port.
INT. DIMITRI’S CAR PORT
Dimitri begins walking toward his compound when he sees a pair of legs hanging out from behind the van Yuri was driving earlier. Dimitri grabs a gun with one hand and a walkie with the other.
DIMITRI
Viktor come in?
Dimitri looks at the mangled body that was once Yuri.
A pipe hits Dimitri on the back of the head, knocking him out.
INT. DIMITRI’S OFFICE
Dimitri is tied to his office chair, behind his desk. He wakes up only to find himself staring at Viktor’s decapitated head resting on his desk.
DIMITRI
What the…?
The guest is sitting in front of Dimitri’s desk.
THE GUEST
Good morning sleepy head.
DIMITRI
How did you?
THE GUEST
How did I escape and kill your men while you were telling that story about the fairy-dancer, then overpower you.
Jimmie, who is wearing a bandage around one half of his face from being burned the night before, pops out from behind Dimitri’s chair and scares the crap out of him.
JIMMIE
I hear you like to tell stories.
DIMITRI
Holy shit!
EXT. JIMMIE’S BUTHCER SHOP – FLASHBACK
While the building was burning the Guest enters through the back and rescues Jimmie.
INT. DIMITRI’S OFFICE – PRESENT TIME
JIMMIE
I would like to introduce you to the one that got away.
Dimitri looks confused then realizes that his guest was Jimmie’s cousin.
DIMITRI
You are Timofey?
TIMOFEY
Yes, oh and your wife was not turning states evidence over to F.B.I. she was handing it over to me. Once we are done here I am going back to my place to fuck your wife some more.
Dimitri is angered. Jimmie with the burned axe from the condemned building raises it above his shoulder.
JIMMIE
Good night!
Jimmie swings the axe.
END SCRIPT
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