"Involuntary Females: Jona" -a Script- free porn video

EXT., HIGHWAY, NIGHT A highway in Kansas, the Pony Express Highway, somewhere in the flat emptiness between two towns that are several miles away. It's night, and it storms and rains heavily. The road is dark, no street-lamps. And no cars. Hardly visible, a woman in a black hooded rain cape fights against the storm and tried to stay exactly beside the road. We see her only from behind, so we don't know how she looks like, just that she seems to be slim. WOMAN (almost whispering) Damn rain! The woman proceeds, walking along, leaning forward against the storm. She pauses for a moment, shakes her head determinedly, and continues to follow the road. Slow Zoom to the woman and her legs: a tube skirt and hoof-like boots, made of the same material as the cape, make her walk difficult. With one foot trying to touch the road pavement while walking on the grass beside the road, the woman feels her way forward. WOMAN (defiantly, to herself) No, the rain is good. It helps me running away. The woman trots along, always just beside the highway. CUT TO: SOME MILES BEHIND EXT., HIGHWAY, NIGHT Another part of the Pony Express Highway. Storm and rain. Also here the road is empty and dark. A light comes from far and moves closer. Soon the light is recognizable as the two light cones of a car's head-lamps. And the car comes closer. As it passes the camera, you see it is a van: a FORD EXPLORER. Dimmed by the windows, and just a bit louder than engine sound and the sounds of the rainstorm, you can hear rock music from inside the van. The Ford passes by, until only it's back lights are visible. soon they fade away in the distance and the road is dark again. CUT TO EXT., HIGHWAY, NIGHT Again the woman in the hooded rain cape, fighting against the storm. A gust of wind hits her from aside. She slips away, and away from the road. By moving only her upper body, the woman tries to re-gain balance. The wind still presses the cape against the woman's body and reveals: The woman has no arms to use for balance, she is armless. While the woman tries to re-gain posture, she steps into a small hole, just a little bigger than the hoofs of her hoof-like boots. With a turn of her body, she falls hard on her butt. WOMAN (panicking) Damn! Damn! Damn! Desperately the woman struggles to get up. But the tube skirt is too tight, she can't use her other leg as a help to lift herself up. CUT TO EXT., HIGHWAY, NIGHT Again the head-lamps of the approaching Ford Explorer. As the van comes closer, the blinking light on its right side start to blink. PAN TO INSIDE THE VEHICLE INT., FORD EXPLORER, NIGHT The man who drives the car is about 60 but still going strong. He wears a dark shirt, Jeans trousers, and hiking boots. He stops the car at the right side of the road, switches the roof light on, and grabs a thermos bottle from beside his seat. Unhurriedly he screws the cup from the bottle and serves himself a cup of hot coffee. MAN Aah! That's wonderful. He sees that the bottle is empty. He closes it carefully, leans back to the backseat, stuffs the Thermos bottle into his travel bag, and, after some rummaging, he pulls out a new, full one that he puts beside his seat. The man switches the roof light off, and continues driving. CUT EXT., HIGHWAY, NIGHT The woman realizes to her desperation that she will not be able to free herself by her own abilities. Helpless she sits there, and tries to get into a more comfortable sitting position. Only her mouth and chin can be seen. The other parts of her face seem to be swallowed by the darkness of shadows and night. The sound of the rainstorm is monotonous, and makes her fall asleep. CUT INT., FORD EXPLORER, NIGHT Through rain and darkness, the man sees the contours of the boring landscape passing along. Suddenly his car's head-lamps catch something reflecting beside the road. He stops his car in the stop lane, takes his rain-jacket from the backseat, and dresses it. CUT TO OUTSIDE EXT., HIGHWAY, NIGHT The man exits the van, pulls a Maglite torch out of a jacket pocket, switches it on and goes around the van. Beside the road, he sees in the torch light a black-clad woman sitting on the ground. FLASHBACK: 6 MONTHS BEFORE EXT., HIGHWAY, DAY, FLASHBACK The same place, a morning in spring, six months before. The woman comes running from about Western direction, the same direction where she seems to come from in the present time. Only that her outfit is different: she wears a one-piece pony-girl costume. Underneath her arms are retained in an armbinder. Her view is limited by blinders, and in her mouth is a bite-gag, both part of a head-harness that looks similar to a real horse's one. She is running away, panicking. And she runs on the ground beside the road. A Jeep follows her, with two men sitting on it. The passenger pulls a cell-phone out of a breast pocket of his shirt while holding himself. He calls someone per short-dial. BOUNTY HUNTER 1 (into the cell-phone) We've got the runaway! Yawing, the Jeep stops in front of the woman. The passenger jumps out and in the way of the running woman. In the blind area of the woman, the driver approaches and attaches a leash to her head-harness BOUNTY HUNTER 2 (stepping back) You caused a load of trouble, you bitch! The woman looks after the voice, sees the leash and - runs rust into the arms of the first man who grasps and holds her. WOMAN (yells desperately into the bite-gag) No! Leave me alone! However, the Bounty hunters take the woman on their Jeep and go back West. CUT: BACK TO PRESENT TIME EXT., HIGHWAY, NIGHT The man carefully touches the woman to wake her up from sleep. WOMAN (startled, yells desperately) No! Leave me alone! The man shies away and points the torch light to the woman, illuminating her spot wise. She realizes where she is, and she hears the still running engine. She knows someone is near her. She whimpers and tries to make herself smaller - WOMAN (whispers) Please don't let this be one of the bounty hunters ... please let them go away. In the torch light we cans see that the woman is not only armless, but also blind: a head-mask underneath the hood of her rain cape covers most of her face, and also her eyes. The man steps closer again. WOMAN (hears the steps and begs) Please leave me alone. I don't want to go back, I'd rather die of cold here. Please let me be. MAN (sighs) Hush, lady. I definitely will not bring you anywhere you don't want to go. But I'd like to help you. And if you don't get into a warm, dry place, you will get really sick. WOMAN I'd rather die here than believe your lies and be brought back by you. Do what you want with me, sir, but don't bring me back or do me other harm. The woman tries to shuffle away, but with no avail. The man takes her hips, pulls her up so that she can stand again. MAN Listen, Lady. I don't know what your problem is beside your outfit, and where you come from. I just want to help. If you want you can accompany me at my way out of this state, have something to eat and a hot coffee on the way - or just continue your walk through this bad weather if you don't want my company. WOMAN (doubting) What if you trick me and bring me back? MAN Would I then stand here in the rain and discuss with you? I'll bring you to the road that you have at least some orientation, then you can still decide. Cautiously he leads her back to the highway, to his car. As they have asphalt under their feet again, he hears the clopping of horse-shoes with each step of the woman. The man illuminates her feet and sees her hoof-like boots. MAN (off-screen, thinking) Girl, what have they done to you? (sighs, then loud) With these shoes I don't find it surprising that you could slip into such a small hole. These soles really aren't made for such changeable and wet ground. WOMAN Believe me, Sir, if you had been in my situation and the place where I escaped from, you wouldn't care about sight or proper soles either - you would just be glad to have the opportunity to escape. (smiles) But I will try my luck. Where is the door? MAN Hang on. The man leads her to the passenger door and opens it, and the door behind it as well. He reaches to his travel bag and comes out with a waterproof blanket, that he puts over the passenger seat. He closes the backside door, and helps the woman on the passenger seat. He closes the passenger door, and enters the van on the driver side, switching the roof light on as he closes the door. While he takes off his rain-jacket, and throws it behind the seat, he introduces himself. MAN I'm sorry, I haven't introduced myself. My name is Bill. Bill Deacon. WOMAN Greetings then Mister Deacon. I'm Jona - at least I am called Jona. Bill fastens both their seat belts, shuts the roof light and starts driving. Soon also the back lights of the van vanish in the darkness of the night. CUT INT., FORD EXPLORER, NIGHT Bill Deacon and Jona still travel through the night. They pass a few houses with partially lit windows: extensions of a town beside the highway. BILL May I ask which direction you fled from? I know it's a bit late to ask this. JONA I don't know it exactly, Mister Deacon. But if I'm right, the Ranch I fled from belonged to a town called Home. BILL Home, Kansas, close to Marysville? Phew, quite a walk, Jona. I'm impressed. That township is a half hour behind us, and I have no intention on going back there. No way, ma'am. But just we went through a town where you might have got caught again if you went through it. JONA (shocked) Oh, thank you for the warning. Actually I've never managed to get so far at my previous trials to run away. Jona presses her forehead to the window as if she were looking out of it. CUT: A HALF HOUR LATER INT., FORD EXPLORER, NIGHT As they travel through a town (Seneca, KS) Bill turns to the left at a McDonald - to KS-63, a highway heading North. JONA Mr. Deacon, please don't game my blind confidence. BILL Why should I play games, Jona? I told you I leave the state. Would you like to be in Iowa at dawn, with a breakfast and some coffee in your stomach? And no, I don't play games. Either I fight for righteous reasons, or I help people. But I never ever play games on them. Or are you just pretending to be a runaway? JONA No, Sir. I beg your forgiving, Mister Deacon. I'm really grateful that you wish to help me... and Iowa sounds tempting... (sighs) But please stop calling me Ma'am and Lady, Sir. I'm not used to it. BILL (grins) Okay, as soon as you call me Bill instead of Mr. Deacon. By the way, at the next stop you get some hot coffee, that you get warm from the inside as well, and later I'll get you something to eat. A street sign in their sight reads that Nebraska is just a few miles away. CUT: AT THE SAME TIME EXT., HIGHWAY, NIGHT The same place where Bill found Jona. Meanwhile the storm has decreased. A helicopter comes from West and scans the ground with a strong, blinding search-light. A Jeep approaches the street from West southwest, and is equipped with strong search-lights as well. BOUNTY HUNTER 1 (from off-screen, via radio) I don't think we find her before tomorrow morning. Damn fucking latex, not even dogs are of use! BOUNTY HUNTER 2 (from off-screen, via radio) What do you think the search-lights are for, stupid? Because of the reflection, But I see on the infrared radar that a car must have stopped here, and a person walked around. And the tracks let me guess that the bitch must have been here too, at least for a half hour. BOUNTY HUNTER 1 (from off-screen, via radio) Okay. I try to find something here, you look if you can find the car. BOUNTY HUNTER 2 (from off-screen, via radio) Understood. The helicopter flies East, while the Jeep continues to scan the ground near the road. CUT INT., FORD EXPLORER, NIGHT Storm and rain have decreased. The Ford Explorer stands on an empty parking lot, the engine is off, as well as the radio. Bill pours steaming hot coffee from the Thermos bottle into its cup. BILL I hope you like your coffee with milk and sugar. I don't have another kind here. JONA (grins) I don't mind. I can't even remember if or when I had coffee before. Bill shrugs and holds Jona the cup at her mouth. Despite the near scolding temperature of the coffee, Jona empties the cup soon. JONA Thank you so much, I really needed it. BILL Another cup, or can we proceed? JONA Just proceed, Bill. otherwise you won't manage to be in Iowa at dawn. Bill grins, has a cup of coffee himself, closes the bottle and puts it away again. BILL Any other needs? Over there is a Port-a-John, you know... JONA No thank you, all is well. Bill starts the engine, leaves the parking lot and enters the highway. As a truck passes them in opposing direction, Bill looks in the rear-view mirror. P.O.V. Bill: view through the rear-view mirror: The truck yaws a bit as it passes the bright ray of a helicopter's search-light scanning the street BILL There is a helicopter behind us, scanning the ground. Can you think of anything they might be looking for? JONA With a helicopter? Maybe they're looking for me. BILL For you? Why would they do that? Bill scratches his head BILL (from off-screen) Well, it makes sense - latex rubber is not a material one would give dogs to track, and the polished material shines when light passes over it. JONA (shrugs her empty shoulders) Well, I think, they want their property back BILL How can you have stolen anything? I mean... JONA You mean, with all my handicaps due to my outfit? Well, I have stolen one of their favorite slaves: me. And I fear that the other slaves who I left behind will be punished because of my absence. BILL (pissed) So you say that you were the property of someone? In the sense of historical slavery? Jona drops her head and sighs. POV Bill: They just leave Kansas and enter Nebraska. In the rear-view mirror the helicopter switches the search-light off and obviously peels off. JONA Yes. I just don't know how, when and why I got into this condition. I only know that two years ago I woke up in a room without any memories of my previous live... FLASHBACK: 2 YEARS AGO INT., FARM HOUSE, DAY, FLASHBACK 2 years ago. A little cell, in there nothing but a futon bed, a folding table mounted to the wall but tilted down, and a big mirror beside the door. On the bed lies a woman, dressed in a straitjacket catsuit. It's Jona. She just wakes up. JONA (confused, wondering) Where am I? And how did I get here? She tries to get up but realizes that her arms are fixated. She panics. JONA (tries to get free) What the hell?! Help me!!! Get me out of this thing!!! The door opens, and a woman dressed in a red Catsuit comes in. She wears a collar, and cuffs are around her wrists that are connected with a 2ft chain in front of her. She carries a bundle that she spreads on the bed: a red dress what she will call a camisk, and cuffs like she is wearing. SARAH Don't yell around like that, slave-girl! JONA I am no slave-girl! How dare you to call me that? Who are you anyways? (struggles again to free her arms) And get me out of this thing, now! The woman grins and goes to Jona, freeing her demonstratively slowly from her restraints. SARAH (sarcastically) One, my name is Sara Millhouse - though my family name is unimportant here because I'm just a slave. But for you I'm Mistress Sarah anyway because I'm the trainer of the new slaves. And two: Are you sure you're not a slave-girl? So tell me then, what were you before you arrived here? JONA (turns around to Sarah and looks at her dumb-founded) Slave-girl? Are you insane? I'm... I'm... Damn, what have you done with me? I can'*t remember a bit! Not even my name! Why can't I remember anything? Sarah turns the shocked Jona around again to proceed to free her, and dons her into camisk and cuffs, while explaining them to her. As she is finished, she grins mischievously. SARAH And why you lost your memory? Simply that it doesn't distract you from being a slave-girl. Sarah leads the still shocked Jona out of the cell and through the hallway of the farm house ... JONA (off-screen) Somehow this scene reminded me of something in my youth, if I just could remember where I was, with whom - and why ... FLASHBACK: ANOTHER HALLWAY, 14 YEARS AGO: INT., TUNNEL, EVENING, FLASHBACK Jona as teenager (about 14) follows a woman who looks like a native American through a brightly lit hallway with doors on both sides. BACK TO: 2 YEARS AGO INT., FARM HOUSE, DAY, FLASHBACK Sarah leads Jona through the hallway of the farm house... ...and they enter the Bar, which is furnished like a mixture of hotel lobby, saloon and nightclub. Erotic pictures hang everywhere, mostly related to BDSM. Beside the door through which Sarah and Jona enter the room, 2 pictures show Jona as bondage model. The two women go until 2 yards away from the counter of the bar. Sarah kneels down, and forces Jona to kneel as well.. On a stool at the bar a heavily built man, who is just chewing the barkeeper out: SIR WALTHER (angry) ... and when I say that Hanson gets EVERY drink on the house, then I mean every drink. This is not only limited to the bar or the restaurant, but also means that I don't even want to see his mini-bar refill on the room or his drinks at the outdoor booths on his bill. Is that clear, John? The barkeeper finishes mixing the drink for his boss and serves it, looking guilty. BARKEEPER Yes, Sir Walter, it is clear now, Sir. I beg your forgiving. Walter waves his hand, grumbling, takes his drink and turns around to the two women. SIR WALTHER Ah, there is my Sarah with the new girl. Does she have a new name already? SARAH No, Sir Walther, You are the only one who has the privilege to give us names, Sir. Walther grins and nods accretively. SIR WALTHER (points at Jona) You, stand up! Jona stands up. P.O.V. Sir Walther: Walther looks at Jona appraisingly - and his eye is caught by the pictures behind her. It's definitely Jona on these pictures . SIR WALTHER From now on your name is Jona. You will serve here, clean the rooms, dance and do everything else what you are ordered. Understood? JONA (defiantly) Where the hell am I here? And why? What does it all mean? Let me go home, now! SIR WALTHER (bored) Obviously the sedative loses it's effectiveness. However: Jona, you are now a slave of the Home Ranch. Don't even bother to protest, you already signed a contract which I expect you to stand to by 100%. According to this contract you waived everything including your rights. JONA (Off-Screen) I knew he was lying, even though I could remember nothing from my former live. And I knew I would use any given chance to flee. Jona begins to protest. Sarah jumps up and covers Jona's mouth with her hand. On a wink of Sir Walther she drags Jona out of the room. BACK TO PRESENT TIME: INT., FORD EXPLORER, NIGHT Bill and Jona still on their way. JONA (in thoughts) I tried it three times, three times I was caught and punished. As well as everyone who could be proofed to have helped me In a few days I am supposed to be brought to my future owner, that's why I hope that I succeed this time. BILL What if they just want to buy you free? JONA (turns surprised to Bill and sighs) No, I don't think so. I even had to try on the skinsuit he left at the ranch, stating that this would become my future appearance... I was totally helpless... the only way I could probably serve him that way would be in bed, as a sex object. Bill looks briefly to Jona and smiles, then he focuses on the road again. BILL Then I can understand you well... Jona sighs again and nods off. Cautiously, Bill adapts the passenger seat to rest position. BILL (off-screen, thinking) Should you really be that Jona who I've been searching for years? Bill turns back to the road to avoid to drive wrong. CUT - AT THE SAME TIME INT., FARM HOUSE, NIGHT Home Ranch, in the Bar of the farm house. Sir Walther walks around, fuming, while Sarah kneels beside his bar stool and the Barkeeper tries to ignore the anger. SIR WALTHER Now that fucking bitch finally managed it! I want that everyone who helped her to get out will be punished! No slave leaves me without my permission! SARAH Yes, Sir Walther. I will ... The main entrance door opens and one of the Bounty Hunters comes in, cutting off the slave-girl. BOUNTY HUNTER 1 Bad news, Boss. SIR WALTHER (still angry) What is it? BOUNTY HUNTER 1 It seems we have lost her, Sir. In this moment a telephone behind the bar counter starts ringing. The Barkeeper answers the phone. BARKEEPER (into the phone) Home Ranch, John speaking? ......... Hang on, please. (covers the receiver and looks to Sir Walther) For you, Sir. Sir Walther stops stomping around and goes to the bar to take the receiver. SIR WALTHER (into the phone) What is it? ......... So?........ The license plate was identifiable? .......... Well done, maybe we still get her back. ........... Of course you stay on track, no question! .......... okay okay, it's of no use if you fall asleep while tracking her. He gives the receiver back and nods to the barkeeper. The Barkeeper hangs up and prepares Sir Walther a drink. SIR WALTHER (to himself) When I imagine to have to pay back the three hundred grands, only because that cunt was "saved"... He takes a big sip from his drink and looks at the Bounty Hunter. SIR WALTHER You bring the girl back, alive and undamaged, is that clear? Her transfer is at the end of the week, she has to be back and ready then! BOUNTY HUNTER 1 We will do what ever possible, Boss. The Bounty Hunter nods, and leaves the bar. CUT TO: LATER EXT., HIGHWAY, NIGHT Meanwhile another highway, the US-75, with equally flat surroundings but 4 lanes. only a few other cars are on the way. Bill's Ford Explorer changes to the stop lane and stops. Bill exits, walks a few rounds around the car to breath fresh air, then enters his van again. Jona inside sleeps. PAN SHOT INTO THE CAR INT., FORD EXPLORER, NIGHT Jona sleeps soundly. Bill rubs his eyes and grabs his Thermos bottle. While he drinks he looks at his notes, thinks shortly, and almost spills the coffee. BILL DEACON (sighs) Damn, still 300 miles to go... He closes his Thermos bottle and puts it back, looks after Jona again, then he turns the radio a tiny bit louder. Jona sighs blissfully. She remembers her past in her dreams. FLASHBACK: 10 YEARS AGO INT., JONA'S APARTMENT, DAY, FLASHBACK (preferably soft-focus, because dream memory) Jona's apartment. It's a sunny afternoon in summer. Jona (now about 18) enters the entrance area with a bundle of books under her arm. She closes the door with her foot and her bum, and slowly goes into her study. P.O.V. Jona: She goes through an open arc door towards a? desk. on the computer monitor a slide show shows several pictures for 10 seconds each, showing a wedding picture with Jona as bride and several single portraits of a man of about 18 years: her husband. JONA (looks at the slide show and sighs) I miss you so, Frank. I hope you come back soon, my love, that we finally can start our honeymoon. She puts her books on the desk and turns around: the door bell rings. Jona returns into the entrance area, and the door bell rings again. FRANK (off-camera, jesting) Anybody at home? JONA (excited and surprised) For you always, my love! Jona opens the door. Out there stands a man, about 18 to 19 years old, wearing a Navy uniform. It's her husband Frank. The same man as on the screen. At his left side there is a suitcase trolley, in his right hand he has two travel tickets. Jona flings her arms around Frank's neck, smothering him with kisses. JONA I missed you so much, my love FRANK I missed you so much, sweetheart Jona pulls Frank into her apartment, and just now sees the trolley luggage and the tickets. FRANK (excusing) I'm sorry babe, I haven't managed to change clothes before I came here, I had too much to do after my arrival. JONA (grabs for the tickets, with no avail) No excuses darling, where are we heading to? FRANK (holds the tickets behind his back) Let's just say: in Honolulu we'll enter the "Pride of America" - so why don't you go packing while I change clothes? JONA Honolulu? Hawaii? Darling you're the best! She kisses her husband again, then ... INT., JONA'S APARTMENT, DAY, FLASHBACK ... Jona dances happily through the study ... INT., JONA'S APARTMENT, DAY, FLASHBACK ... into the bedroom. With a mixture of happiness, excitement and nervousness, Jona gets a a big suitcase trolley from a corner of her closet and packs summer clothes, an LBD and half her make-up into it. CUT TO: LATER INT., HOTEL SUITE, EVENING, FLASHBACK A hotel suite in a hotel in Honolulu. on the king size bed lie both suitcase trolleys of Jona and Frank. Jona and Frank are changing clothes. Suddenly Frank pulls a beige plastic bag out of his suitcase and puts it near Jona's luggage as if by incident. FRANK Would you like to try this on? JONA (takes the bag in her hand) What is this? FRANK (smirks) Look into it. Jona opens the bag and pours the content on the bed. Out comes a skinsuit - a kind of skin colored Lycra catsuit - and something like a small remote control: the transformer. Jona looks at the skinsuit - and realizes that it is entirely armless. JONA (looks wondering) A skinsuit? And armless? How come? Have you developed a devotion towards amputees? FRANK Not at all, my love. I simply remembered the night of our first kiss. That night you said that you wold love to be helpless in my arms, and that you even could imagine to be entirely armless with me. And now you can try it out. And no worries if you don't want it. I'll put it away then and don't bother you again until you tell me that you want to try it. JONA (beams) Awww you're so sweet, Frank. Of course I want you to help me into it. Please make me armless, right now. And promptly she undresses. Frank helps her at it, and slowly pulls the skinsuit over her body while she is pressing her arms to her sides. After closing it with the back zip, Frank takes the transformer and pushes one of the buttons. Jona breathes in briefly as if something hurt her a little: the Transformation begins, she becomes armless. The skinsuit vanishes and Jona appears naked but with empty shoulders: not even stumps are where her arms have been. Frank dresses Jona again, and she tries to cope with her changed body. At the mirror of the closet she stops and turns around to look at herself from all possible sides. JONA (excited) Cool! I even look hot without arms. Let's see how long we can handle this. I mean how long I can handle to be that helpless and how long you can handle to help me with everything. Frank hugs Jona, kisses her, and she swoons. CUT TO: A WEEK LATER INT., "PRIDE OF AMERICA", EVENING, FLASHBACK On board of the cruise ship "Pride of America", in a luxury penthouse suite. Frank just leads the armless Jona into the suite, both laughing and drunken. Both wear formal clothes. While Jona falls into an armchair, Frank leans at a wall, admiring his wife. FRANK Have you seen these pity faces? I wonder whom they felt more sympathy for: you for being armless, or me having to deal with it. JONA Both I think, my love. But it was such a great night - this entire trip is fabulous! But do you know what I am missing? FRANK What are you missing, sweetheart? JONA I can't hug you. (begs with puppy eyes) Can you please give me my arms back that I can hug you? Please... Frank smiles and gets the transformer from inside his luggage in the walk-in closet. Then he undresses Jona and presses the button. JONA (giggling) Ouch! The reverse transformation begins: her skinsuit slowly appears and lets her arms appear underneath as well. Frank undresses it, and Jona hugs him and smothers him with kisses. She helps him undress, and both go to bed. CUT TO: PRESENT TIME EXT., TRUCK-STOP, NIGHT Bill slowly arrives at the gas station of a truck-stop. He stops at a gas pump, looks at the sleeping Jona, and leaves his van. He gases up, then enters the truck-stop shop. CUT TO INSIDE: INT., TRUCK STOP, NIGHT Bill goes through the aisles, then pays his gas at the cashier, and - not without having a look outside through the windows - makes a detour to the bathrooms. CUT TO OUTSIDE: EXT., TRUCK STOP, NIGHT A view into the van: Jona lies snuggling in the passenger seat and dreams. CUT TO INSIDE INT., TRUCK STOP, NIGHT Bill returns from the bathrooms. He buys some snacks and a bottle of Jolt-Cola, but always has a look outside to his van. POV Clerk: Bill pays, goes outside, enters his van and leaves the gas station. CUT TO: 3 HOURS LATER EXT., IOWA CITY, MORNING It's dawn. The first rays of sunlight appear. Bill's SUV leaves the I-80 at Highway 1 towards Iowa City and turns left at the crossroads to N Dubuque Road. A car in the opposite direction makes Bill stop, ... BILL (surprised; off-screen) Woooah! Where did this came from? ... but after this shock second he continues the travel. However, Jona wakes up. JONA (off-screen; startled) Damn, Bill! You did trick me! You said you wouldn't bring me back! I trusted you! BILL (off-screen; calming - but recognizably tired) Not at all, Jona. You'll see - when I take your head-mask off in the room, you will see that we're not in Kansas anymore. JONA (off-screen; suspiciously) Yeah... sure ... A minute later Bill arrives at the Da Woods Bed & Breakfast. He leaves the van and rings the door bell. A long minute later a somnolent man appears at the door. It's Tom, the owner of the Bed & Breakfast. TOM (sleepy) Good morning, what can I ... (remembers Bill) Oh, Mr. Deacon, how can I help you this early morning? BILL 'morning, Tom. I'm sorry for waking you up. Is "da Red House" vacant by any chance? TOM Sure - well, within the week, no season... Hang on please, I'll get the book and the key... Tom goes back inside. Bill leans against the wall and drops his head. You can see that he has to fight to stay awake. pan shot to the car: through the open door you see Jona listening closely to what happens. JONA (sheepishly) I'm sorry that I was suspiciously, Bill. panning back. BILL (mutters) it's okay, understandable. In this moment Tom returns. With the register book and the key. TOM (cranes his neck to the van) Haven't I just heard someone ...? So you're saving someone from distress again, Mr. Deacon? BILL (grins) Have I done anything else yet? Bill signs in, and hands the book back. BILL May I keep the van here? I can't drive a yard wide anymore. TOM Sure. I'll park it at the parking lot later. You know already where everything is. Bill nods. TOM Good night then. Tom retreats into the house while Bill watches him unobtrusively. Bill goes to the car, helps Jona get out and takes his travel bag out. The travel back over one shoulder, the other hand around Jona's hip, Bill leads Jona to the other building of the B&B: "da Red House" He unlocks and opens the door and leads Jona into it. CUT: INSIDE THE HOUSE INT., DA RED HOUSE, MORNING The inside of "Da Red House" is luxurious and comfortable, like a hotel suite. In each of the rooms there are warm red accents. Despite the clopping sound, Bill leads Jona to an armchair near the fireplace JONA Bill? I know it doesn't sound like the Ranch, and it doesn't smell like the Ranch - but I need to see it to believe it... BILL No problem Bill helps Jona stand up again, and pulls her cape up, over her head to undress it, and throws it beside the armchair. As expected Jona is armless underneath. Unfortunately Jona's head-mask is attached to the long tight dress she is wearing, so Bill can't just take her mask off JONA (impatiently) Please remove the dress as well. If I'm right, I'm not naked underneath. Bill turns Jona around to look for the zip in her back. Soon he finds the zip, and opens it. He undresses her the dress, and - and voila, Jona wears a black catsuit, and finally can see. JONA thank you so much, Bill. (looks around, and out of the window.) It's really beautiful here - and definitely not Kansas Bill leads Jona out to the patio. CUT TO: OUTSIDE EXT., DA RED HOUSE, MORNING The patio of Da Red House at Da Wood Bed & Breakfast. The sun is just rising. Bill puts his arm around Jona's armless shoulders and leads her off the patio into the adjoining woods. JONA (sighs) Oh my, it's so good to see again, and to be out of the Home Ranch. You can't believe how relieved I am to see again after those three? four? days. And then the first thing I see is this beauty here. And how difficult it was to get out of the pony-girl-stable, and the Ranch, even with the help of those who could see. But hey, I managed it, even though it took me a few tries, and this view alone was worth it. It's the beginning of freedom. I feel it. She rather soaks in everything she sees, hears and smells, making comments of admiration. After some minutes they pause on a bench. JONA Hey Bill, why are you helping me as intensively as you do? BILL Well, that's a difficult question. One, I help victims of people who misuse their power. That's the main reason. Two, I've been looking for the niece of a friend for the last almost five years now. She was kidnapped under very mysterious circumstances, and I could only find tracks after they had become cold. But I'm sure I'm getting closer. And I have a kind of feeling that you could help me, and be an inspiring muse. (looks at Jona ) (off-screen, thinking) Maybe it's you under another skin-suit. I so hope that I'm right and my search has ended. (continues in normal volume, tongue-in cheek) And thirdly, I realized that I need some nice company to keep me awake while driving. Both of them laugh. He shivers, then stands up. BILL Let's go inside again. It's cold enough out here and I don't want you to get sick. Plus, I promised you something to eat and we won't get that out here. They return to the house. CUT TO: INSIDE INT., DA RED HOUSE, MORNING As Bill and Jona enter the House again, she also shivers, terribly. Her teeth are chattering. BILL Hang on, I'll prepare you a hot bath first. Bill goes to the bathroom, and prepares a bath. While Jona looks around the suite, the sound of running water makes her uneasy.? JONA (insistingly) Bill? Could you help me go to the restroom, please? Bill hurries out of the bathroom. JONA I can't do it by myself, as you see. Someone has to undress me, and open the door and the toilet lid for me. BILL (blushing) Why, of course. He leads Jona into the bathroom. The camera stays in the living room BILL (off-camera, sighs) I knew it, no zip down there. Why make it easy ... JONA (off-camera, giggles) Well, you'll have to undress me anyways, so -- BILL (mutters) ... hm ... Hang on... Toilet flush, more muttering and giggling. Boots and Latex clothes are lumped on tiles. BILL At least you seem to wear a skinsuit. Usually there are at least tiny scars after an amputation. JONA I'm sure I'm wearing a skinsuit. BILL I hope you are, and that it's a temporary one. But I can find it out easily with a simple test scan, I have everything needed in my travel bag. JONA You mean ...? Oh I'm so looking forward to this test. CUT INT., DA RED HOUSE, MORNING Bill comes out of the bathroom, carefully keeping the door ajar instead of closing it. He is naked except a towel wrapped around his lower body. He carries a pile of clothes that he lumps onto the other pile near the armchair. It's Jona's and his own cloths. He takes the telephone and makes a call. BILL (into the phone) 'morning, Tom. Could I .......... Wow! Are you psychic or what? ......... Great, thank you. ........ No, we just had a hot bath first. He hangs on and gets his travel bag, rummaging a laptop and a small case out of it. A knock at the door. Bill opens the door and lets Tom in who carries a tray with breakfast for two. BILL Wow, thank you very much, Tom. You're really a psychic. But why the red carpet? Last time I've been here, I saw two girls working here. TOM (puts the tray on the dining table) Oh that's been my kids helping out, Sir. Unfortunately, I can't afford a maid, and I don't like the idea of slavery like down there in Kansas. I mean, slave-girls are cheap, they'd be working for board and lodging - but... no thanks. Slavery has been illegal for two-hundred years now, and I think it's better to keep it illegal throughout the States. And as long as our Bed&Breakfast makes no loss, my wife and I manage to serve all the guests by ourselves. And when the restaurant is fuller than the two of us can handle, my kids help without being asked. And my oldest has finally adapted to being a girl now. BILL Yeah, it's a crime that those bastards still trap people into permanent skinsuits labeled as temporary ones. But I think we may have found a way to reverse it. I can tell you more after I've brought my niece home - I mean, if your Jenny still is interested after this year or so she's being female. TOM Thank you very much. I'll ask her when she gets up, though I doubt it. She seems to be more content now than when she was a boy. Anyways, here's your breakfast. Is there anything else I can do for you, Mr. Deacon? BILL Yes, Tom. Two things if you don't mind. First, please do me the favor and call me Bill as I've asked you the last five or six times - (smiles as Tom blushes) - and second, my niece needs normal clothes. You see that latex pile there beside the armchair? Tom looks to the pile and nods. JONA (off-camera, from the bathroom) Clothes? Oh yes please. I had to wear latex much too long. Could you organize something casual and modest, please? Hm... you might need my size. She tells her size as she remembers it. BILL (smiles) You heard the lady. TOM (thinks a few moments) If you don't mind waiting until after lunch, I'll organize some outfit for your niece. And they'll be a bit brighter in color than these ones, too. BILL (hands Tom a few 100$ bills) Take this in advance. You'll get more if needed. But if there is any change left, keep it for your family -- you may need it. And I want to be sure that you don't buy outfits in the most expensive shop of the town. Just try and let your daughters help choose something. I think their taste will fit my niece. TOM Okay, Mr., um, Bill. Female casual, modest outfit, around noon. You'll be satisfied. He turns around to exit. BILL (accompanies Tom to the door) I know you'll bring the right stuff, my friend. Bill locks the door and leans against it. He sighs, visibly tired and worn-out. Jona enters from the bathroom, wearing a big bath towel wrapped around her naked armless body. JONA So I'm your niece now, huh? BILL As much as Tom is to be concerned, you are. Just to avoid questions and suspicions. JONA Well, uncle Bill, could you then please feed your niece some breakfast? They sit down at the dining table, and Bill begins to feed her. CUT: LATER INT., DA RED HOUSE, MORNING Jona sits in an armchair, the laptop on the table in front of her is open. She tries to type with her toes. Cursing. Bill returns from the bathroom, sits down. He moves the laptop to himself, and takes a hand-held scanner out of the small case. He connects it to the laptop and starts a program. BILL Stand up please, Jona. I want to check something. Jona stands up, wondering. Bill turns her around and moves the scanner along her back between her neck and shoulders. A yellow LED on the scanner turns green after some seconds. pan and zoom to the laptop screen: a pop-up reading "skinsuit, temp." and two lines of numbers. BILL Okay, Jona. You're not an amputee,and your skinsuit is not permanent. It can be opened in about five days, or I can accelerate the process and relieve you in a little bit more than one hour. What do you think? JONA I think I'll go to bed. BILL (dumbfounded) What...? JONA (grins) Bill, I'm tired. And you are even more tired than I am,? almost falling asleep at every move you make. It's better to leave this Bed&Breakfast the state I'm in, and you can relieve me in the afternoon. But if we don't sleep at least a few hours, I'll either fall asleep at lunch or get grumpy, or we'll die in an incident this very afternoon. BILL Okay, you have a point. He helps Jona into her bed, and goes to bed as well, falls asleep quickly. close-up: Jona in the pillows. she smiles contently, closes her eyes Focus becomes soft TRANSFORM TO INT., "PRIDE OF AMERICA", MORNING, FLASHBACK - 10 years ago. - Soft-focus, becoming clearer A cell-phone rings. close-up: Jona in her pillows. she wakes up, struggles to turn around - to face Frank. JONA Frank, answer the phone please, I can't, as you know. Both of them are in their suite on the cruise ship Frank wakes up, takes the mobile phone from the nightstand and answers it FRANK Webster speaking? CUT TO: INT., EMILY'S HOUSE, MORNING, FLASHBACK In the kitchen of her house, a woman near age 40, wearing a? latex dress sits at the table, having a call. It's Emily, Jona's aunt. EMILY (into the phone) Hold on a second, please. She covers the phone and fights a laughter, looking to another woman, who is dressed more normal: her partner Myra. EMILY Myra, imagine this: Jona is armless on the ship. She's either wearing one of those corsets or a skin-suit. She's crazy, isn't she? MYRA How do you know, Emily? EMILY You remember Jenny, the red-haired girl? Her father works as butler on the "Pride of America" - and guess whom he saw. MYRA You mean, he's seen Jona as an amputee? Oh my god. She giggles. Emily signs to be silent, then switches the loudspeaker of the telephone on. EMILY I'm sorry, I had to go grab a drink first. Please proceed. MAN ON PHONE (from off) Well, you know... I was shocked to see that this poor armless girl looked exactly like Jona. Even her voice was like her. At first I thought it was only a coincidence, you know, just similarity, but then I heard her friend calling her Jona. Can it be that it is really your niece? What happened to her? EMILY (fakes seriousness) Well, yes, it's my niece Jona, but it's a long story. I'm glad that you called me first. Please do me a favor. Keep an eye on her as discretely as possible. And report to me if anything goes wrong. And I mean me, nobody else. MAN ON PHONE Okay, I'll do it. EMILY By the way, if everything goes right, Jona will have arms again when you come back in town again. Meanwhile, she will have to suffer through her armlessness. MAN ON PHONE Are you just trying to calm me down? How is it possible that such a totally armless person can have working arms within two weeks? EMILY Well, you'll see. I'm not allowed to tell details of the treatment, it's a special process and marked as Highly Confidential. I'm even risking my freedom by simply telling you that there IS such a treatment. So please don't ask, just tell me how she's doing, and everything will be fine. And, Mr. Jeffreys - please don't say a word to anyone else. This is very important to our country. Myra covers her mouth with her hands and runs out. From far off you hear her laughing. MAN ON PHONE (excited) You mean, this is secret service stuff? EMILY Hush, don't even mention it. It's a matter of National Security that you keep absolutely quiet about it. Not a word, to no-one. MAN ON PHONE (gulps, intimidated) I understand, Ma'am. So, Jona is being watched anyway? EMILY Of course she is. But it's better that you look out for her as well. You know, four eyes see better than two. I will pay you for your reports when you are back home again. MAN ON PHONE Oh no, Mrs. Miller. It's for the sake of our country, and if what will give Jona her arms back can help our soldiers wounded in the war, I feel honored to be allowed to help. Forget about the money. I will report anytime I can. And I will keep the secret, I swear by God. EMILY Thank you very much, Mr. Jeffreys. The President would be a happier man if all Americans were as unselfish as you. Unfortunately I'm called for business now. I'll talk to you later, then. Good bye. She hangs up on him and cracks into laughter. Myra returns, still snickering. EMILY (laughing) Such an idiot. He really bought that Jona was part of a secret experiment! MYRA Well, you sure were convincing - what about attending a theater group? Maybe you'd even get discovered for the movies. That dialog at least was worth the Oscar. EMILY oh no... it's just a side effect of playing poker with you and the girls, sweetie. Now she dials, again with switched-on loudspeakers. SWITCH TO: INT., "PRIDE OF AMERICA", MORNING, FLASHBACK Jona and Frank in their suite on the ship, both in bed. FRANK (into the cell-phone) Webster speaking? EMILY (from off, through the entire scene) Good morning, Frank. Are you enjoying honeymoon? JONA Who is it, darling? FRANK (covering the cell-phone) It's your aunt Emily. JONA Give it to me please. She struggles to sit near Frank, and he holds the cell-phone at her ear. JONA Hi Aunt Emily, how are you doing? EMILY You know, same things different day. But what about you? JONA Oh, we're having a blast here. Frank got an armless skinsuit for me, and now I'm armless most of the time, especially when we're out of the cabin. Aunt Emily, no-one here on this ships knows that I have arms. Frank looks at her, questioning, Jona giggles JONA ... well, except Frank. Oh this is so much fun! EMILY I'm glad to hear that. Just watch that you stay armless for anyone else. I just got a call from someone who knows you. JONA (to Frank) The floor steward! I knew he reminded me of someone. (into the phone again) Can it be that it is Jenny's Dad? EMILY You got that right, my love. I made him believe you stay armless until you're home, so don't make me a liar. JONA No Aunt Emily. I'm not planning to let anyone else on board know that it's just a skinsuit I'm wearing. Love you so much. Frank closes the cell-phone, puts it away, and begins to kiss his wife. They are distracted by a knocking at the door. CUT TO: PRESENT TIME, EARLY AFTERNOON INT., DA RED HOUSE, DAY The bedroom of "da Red House" in "da Woods B&B". Bill and Jona are sleeping. Constant knocking at the door. Jona wakes up. JONA (sleepy) Who's there? TOM (off-camera) Tom Meyers, Ma'am, with your clothes. JONA (loud) Okay, Tom, just give us a minute. She shakes her blankets off, and goes to Bill, poking him with her foot. JONA Hey, old man, wake up. Tom's at the door with my clothes. BILL (sleepy) Hm ... why don't you let him in? Please let me rest a little longer. JONA (hisses sarcastically) Sure, Sir! I'll go to the door, naked, and unlock it with my teeth! BILL (jumps up) Oh Jona... sorry. I didn't realize it's you who was talking to me. I'm really sorry. Tom knocks again, more impatiently. BILL (loud) Just a moment, Tom, she had to wake me up. He gets up, finds the towel and wraps Jona into it, then dresses himself quickly clothes out of his travel bag. Breathless, he answers the door and lets Tom enter. Tom carries a couple of big shopping bags. BILL I'm sorry Tom. I was so worn out, after eight hours of driving. My niece had to wake me up, because I didn't even hear you knocking. TOM Yeah, it's okay. This morning you rather looked like falling asleep every moment, a wonder you made it here. Anyways, here's the clothes for ... Tom sees Jona, and stares at her agape. Jona grins. TOM (feeling found out) Oh... Hm... I didn't know that you're... hm... handicapped, Ma'am. Otherwise I would have asked my daughters to buy you a cape instead of a jacket... or some of those special outfits for the armless. JONA Oh, no thank you, Tom. Normal clothes are okay. Could you put them on the table please - in case they're in those bags you're holding? TOM Oh sure. Yes, your clothes are in these bags, alright. (looks down) Sorry for starring at you. I didn't want to. I... JONA (cutting him off with a disarming smile) Oh, that's okay - I think if you'd seen me in the costume I wore before Uncle Bill removed it, you would have starred even more. Tom and Bill unpack the bags and spread the clothes and needful things over table and armchairs.?