Remote Viewing for Dummies. Act 2, Scenes 1,2,3,4.

“ACT 2, SCENE ONE. “COUPLING” “
By
Robert Janeck
4815 Comanche Way
Madison, Wi. 53704
608-241-8497
[email]

FADE IN:
COUPLING
Bob’s bedroom. A kingsize bed pretty much fills the room. Bob has 800 count, Egyptian cotton sheets, king size pillows, and a very large german shepherd on the bed.
REBECCA
So show me the lair of the master remote viewer. Holy shit, who is the monster?

The German shepherd is lying in the middle, and just looks at her. He knows he is on the top of the food chain, and she is just one link, somewhere far below. Not a threat.
BOB
He answers to “Max” or bear, or pretty much anything, if you have a biscuit. No biscuit, you may be the biscuit.
BOB
Max, be good. Friend. Becky, there are biscuits on the top of the dresser.
REBECCA
You leave his biscuits in the open, within his reach, and he doesn’t just snarfle them all up, when you aren’t looking?
BOB
Training. I got him War surplus from the base in San Antonio, he was a security dog, kind of a search and destroy. His level of training is at the top, and he knows commands in two languages, plus hand signals.
Bob and Rebecca settle in on the bed. The dog is bored, and gets up and leaves, you hear water going down, and he comes back, looks at the bed, gives a sigh, and lays down on the floor.
REBECCA
Ok, do the relaxation, the breathing, or whatever you do to do what we do. We will hold hands. That connection allows us to communicate, mentally. Let’s see what we can do, and where we can go.
BOB
Copy
REBECCA
See you in dreamland.
(From the scene where they are holding hands in the bed, we see them standing at the edge of the Grand Canyon, then in front of Mount Rushmore, the Washington Monument, then a crappy little grocery store in the part of San Diego that is very close to the border. )
BOB
Is there a reason you brought me here, Oh Ghost of Christmas Past
REBECCA
Sometimes you just flow where the whatever sends you, sometimes you can be the driver, sometimes you ride shotgun, sometime, you ride bitch. I am going to guess that there is a reason we are here. Let’s go inside.
BOB
Ok, we have an older three story building with a basement loading dock, retail on first floor, and the loading dock has pallets and a dumpster that smell like a grocery store’s dumpster. Where do you want to start?
They are in the basement of the old building, there is inventory for the grocery store, but a wall that is about ¾ of the way up from the back loading dock has steel screwed into what looks like structural wood, with not less than two deadbolt locks. They walk up to the wall and then they are in the other room. Empty at this point, there are stations along the walls that have chains bolted to the rafters, and hand cuffs with one side fastened to the chain, and one side free. The chains art about 6 feet apart, and there are eye bolts on the floor under each chain with a three foot piece of nylon rope knotted about each eyebolt. Both Bob and Rebecca notice the wooden table in the middle of the floor, with its ropes, chains, eyebolts, and other restraints. Rebecca motions to Bob to leave, and they are on the third floor with their backs to a window facing onto the main road outside. The room has a number of men, two Asian, in suits custom made by one of Singapore’s best tailors, a holdover from the British days. There are three Mexican guys, central casting could have sent them over for a Quentin Tarantino movie, the other two looked like the dudes at any Los Angeles movie or video, or TV production company. Shirts with only a couple of buttons, pastel slacks, and a look that male, female, sheep, or goats, it’s all good.
ASIAN 1
Our customers has a taste for the starlet quality, you know, your California girl, with an attitude just waiting to be broken. Someone who our people will have a good time breaking into a slave whore for the brothels in Cambodia and Laos, not to mention the rich guys in China.
MEXICAN 1
Do your guys want any Hispanic girls, our coyotes can round them up in the desert. We can use the night vision scopes we get from the military, and hell, we can use their choppers if the money is right, on that particular day.
ASIAN 2
Yup, we have some guys who will pay for that, but not the same money as for the white girls, they use them in games in the coliseum, if you know what I mean.
MEXICAN 2
So, you don’t mind if they’re a little rough when we transfer?

ASIAN 2
No broken bones, no open wounds, no gunshot wounds, but a little beat up shouldn’t cut the pay.
WHITE GUY 1
We can put out the work for a casting for a new movie, we need hot chicks for a rap video, or we want girls for an ad series for some department store. Hell, we can put together a catalog. Order what you want.
WHITE GUY 2
We just have to make sure that the chicks are the type who show up in Hollywood, don’t get work, then go home, or disappear, not a problem, we have tons to choose from.
MEXICAN 2
I’ll put some eyes at the clubs, the bus stations, the train stations, we can’t hang out at the airport, cause then think that we are looking for snort, so we just look where we are invisible. We scored some chicks at the home improvement store who hired a couple of our boys to do some yard work.
Bob and Rebecca look at each other, and remove themselves from the scene, they are back together, in Bob’s big bed, the shepherd watching, gets up and leaves.
FADE OUT:

“|ACT 2 SCENE 2. OLIVE TAKES A MARTINI”
By
Robert Janeck
x
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FADE IN:
OLIVE TAKES A MARTINI.
A bar, a club, a dive, every college town has one. The owner doesn’t keep the air conditioning set too cold, because then the dancing girls glisten, we all know that women don’t sweet, they glisten. The beer is cold, the music loud, the dj is hot, the bouncers are cool. They check the ids of the guys like they were entering a nuclear reactor, and the girls ids are checked so the bouncers know the first name they are using that night. Olive flows in, the wife beater cut at the top to show some more of the famous Mount Olive cleavage, the skirt shorter than one would define a short skirt. A look of confidence, the tiger is in her domain.
OLIVE
Hey Mikey, anybody waltz in here worth getting to know.
MIKEY THE DOOR CHECK GUY
Oly, you know everybody in here, in one way or the other. You even know their real names.
OLIVE
Hell, that’s the name they give me, not the name their mama gave them.
MIKEY
There were some Mexi guys in here. Never seen them before, seemed awful sober for Mexican guys after 10 pm.
OLIVE
Any new girls in here?
MIKEY
Always some fresh meat at the butcher store. Fresh in from Minneapolis, gonna make star in two weeks, can’t find a waitress job, and working the porn up in the valley at the end of the month, when the rent is due. They end up with a boyfriend that is more of a looser than they are. And, they don’t tip our waitresses, bartenders, or bouncers.
OLIVE
You don’t get tips!
(Mikey looks a little nervous)
MIKEY
Ever wonder why some of those girls look so young? Ever wonder why some of those guys who are dorks get to the top of the velvet rope by just walking up and shaking my hand? Ever wonder why the bouncer drives a piece of shit truck to work, and goes to Vegas in a Shelby Mustang?
OLIVE
Only because I don’t give a shit.
MIKEY
Better trundle in a stake your claim. Bartime in only about 4 hours. Barely enough time to set your claws.
OLIVE
I’ll leave you some leftovers.
Camera shifts to the club, sweaty girls, lots of sweaty bottles of beer, loud music, and three Mexican guys in the corner where the bar met the outside wall. They had beer bottles, but they had picked up empties, and just held them to be social, and invisible.

MEXICAN 1
Hey sister, can I have you buy me a beer.
OLIVE
You must have flipped upside down when you slide under the fence at the border. Around here the dude buys the chick the beer.
MEXICAN 1

Ok. Dos cervesos, por favor.
BARTENDER
What flavor?
(Sign behind the bartender. “Over 100 craft beers on hand at all times”
MEXICAN 1
Ah, bud.
OLIVE
Thanks, dude, what’s your name?
MEXICAN 1
Call me Juan.
OLIVE(DRINKING HEAVILY FROM THE BOTTLE, ALMOST DRAINING IT.)
Dude!
We see Olivia start to get starry eyed. She is under the influence of something that will make her check out. Mexican 1 signals to Mexican 2 and 3 and they slide arms around Olivia and work her out through the crowd to the front doors. Mikey sees what is going on, and speaks into his watch. The Mexicans role Olive out the door and into an older Lincoln Towne Car Limo, which, if you could see the drivers side, has battle damage along the whole side, left from the last abduction, when the girls friends tried to stop the kidnapping. Their Toyota Corolla didn’t stand a chance and ended up pushed off the road into a palm tree. The Linc rolls off, and Mikey is still talking into his watch.

Act 2. Scene 3.

Olive is in the basement of the grocery store. She is seated in a metal folding chair. Her hands are cuffed to the chains, and her feet are tied to the rings on the floor. She has a ballgag in her mouth, and a bandana over her eyes. Mexican 1, and White guy 1 come in, and look her over. White guy 1 reaches into her shirt, and checks out her breasts. Mexican 1 nods in agreement, and after White guy 1 pulls his hands out, reaches over and rips the shirt open, freeing the twins of truth and beauty. She is awake now, and struggles. White guy 1 tells her to relax, she isn’t going anywhere, and she might as well relax and enjoy her new career. Slave whore.
Fade out.

ACT 2, SCENE 4. CAN IT BE A MARTINI IF THERE IS NO OLIVE?
By
Robert Janeck
x
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FADE IN:
NORMS GARAGE
Norm is sober, not drinking, Bob and Rebecca show up in Bob’s mustang. Gunny and Anna are there, Gunny is really mad, and Anna is looking worried, and beautiful, is a yellow sundress.
BOB
Brief me. (Rebecca tries to grab his underwear, but then remembers that he isn’t wearing any.)
GUNNY
Olive went out, to see her friends at that damn bar downtown, by the campus, she was seen by Mikey, who used to be one of my boys, escorted out by three sombreros into a beat up Lincoln limo.
REBECCA
Why didn’t he stop her.
BOB
Mikey works for the same agency I used to. He is surveillance and can’t risk the whole show for one chick. He did follow his orders, and he was taught well to follow orders by Gunny.
GUNNY
Yeah, too well.

REBECCA
Bob, remember what we saw yesterday?
BOB
Yup
REBECCA
Norm, have you got a bed Bob and I can use?
NORM, WITH A LAUGH IN HIS VOICE.
Ya, Bob knows where it is, but don’t we have something more important to do?
(All watching in wonderment as Rebecca grabs Bob’s hand and they disappear into the house. Almost as fast as they went in, they are out, with Bob pulling Rebecca)
NORM
What? Wasted the opportunity just thinking about it?
BOB
Come here.
Bob steers Norm around the corner of the garage, and back to the old 1957 Chevrolet race car that Norm maintains in his father’s memory.
BOB
Becky and I looked and found Olivia in the warehouse basement at Madison and Harrison streets. She is shackled in the basement. Bunch of Mex, Asian, and gringo in the building. Do you have any of those burner phones.
NORM
Don’t leave home without one. (Reaches into a pocket, and takes out a disposable burner phone) This one doesn’t have a ton of use, just to the track to see who won. I can drop the dime. (Norm punches in 911.) There is a kidnapping in process at the warehouse grocery, in the basement of Madison and Harrison. White slavery, lots of girls, and they are shipping them out in an hour. If you don’t get there, they are gone forever. After disconnecting, he disassembles the phone, takes the chip, hits it with a rock, and takes the junk, the phone, the battery, and the destroyed chip and dumps it all in the trash.
Coming around the corner of the garage, they almost ran into Anna, in her magnificent sundress, leaning on the side of the garage. She had heard everything they had said, and had heard the phone call to the police. But, their secret was secure with her, until she posted it on her blog, using a link on the third period in each days posting that was monitored by an unknown agency located in Moscow. Back in garage, they found Rebecca talking with Gunny, who was still worried about his pride and joy.

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