Rod Vs The Snake Woman

I slowed as the GPS informed me that my destination would be on my right. I'd taken one of the many ninety-minute flights from Los Angeles to San Francisco, and now I was an hour or so north of the city, in the Napa Valley region of California. I was rounding the gentle curve of the highway when the GPS announced I'd arrived. There was nothing other than a wide, paving block driveway, so I turned in. The drive climbed a slight hill as it curved to the left, and as my rented Maserati Grecale crested the hill, I saw the large chateau that was the defining feature of Sett Stone Winery.

It was a few minutes after eight as I rolled into the large, block stone parking area. The lot was filled with cars since the chateau was still hosting diners and wine tasters, but I wasn't there for the wine or a meal. I found an unused space and parked the SUV.

About a month ago, Richard Lem, the man that had lured me out of retirement for one last short, had contacted me and asked me to come to the Sett Stone Winery to shoot the sequel to

Fucking the Jizzarian, (In Space, No One Can Hear You Cum.)

The forty-seven-minute short had dropped three days earlier as an exclusive on pornvids.com, and according to Lemmy, it immediately became their highest rated video of all time.

Three weeks earlier, Lemmy had sent me a copy of the finished video, and while I'd rolled my eyes at the title, I was pleasantly surprised and impressed with the product. The sets didn't look cheesy, Londo looked amazingly lifelike, and the special effects were adequate for the purpose. He even had a couple of exterior shots of the ship that would have been Hollywood quality twenty years ago. There was even some chatter that the video might be nominated for a couple of AVAs---Adult Video Awards---for special effects and set design, along with a special award for outstanding creature sex. Because the video had received good buzz prior to release, and it was now running hot, the backer, whoever it was, wanted to get another video out as soon as possible, ahead of any copycats if feasible, to cash in on the buzz.

Leaving the Maserati, I walked through the carefully manicured lawn, following the hedge flanked brick walkway to the wide steps cut into the hillside that led to the main entrance. The chateau was set well back from a wall made of large, irregular stones, that was perhaps six or seven feet tall. When I reached the top of the steps, I realized that the wall formed the front edge of a deep, slate-tiled patio. Dotting the large patio were numerous tables, their umbrellas collapsed and tied closed. Even with the sun approaching the horizon, it was still an uncomfortably warm evening, and I didn't know if it was the warm weather, the approaching darkness, or the lack of patrons on a Wednesday evening that caused the tables to be empty. I paused as I glanced around. I couldn't see behind the massive bulk of the chateau, but across the highway, and to either side, were neatly tended rows of grapes as far as I could see.

Before entering the chateau, I walked to the left edge of the patio. At least fifteen feet below me was a beautifully detailed garden with a brick path, like the one I'd followed from the parking lot, winding sensuously through the hedges and short, ornamental trees. Beyond the garden was a narrow band of carefully maintained grass before the rows of grapes flowing over the rolling hills began. The vines ended at a finger of what appeared to be forest where the hill must have become too steep or rocky for grapes. Beyond the trees, I could see more rows of grapes extending into the distance. The Sett Stone Winery was an amazingly beautiful place, and I took a moment to absorb the beauty of the grounds and fields before I turned and made my way to the entrance.

"One?" asked the woman at the door as I entered.

"I'm joining someone. Richard Lem?"

She smiled. "Mr. Pelonis?" she asked, using my legal name.

"That's right."

"Right this way, sir."

She led me through the lavish restaurant to a small back room where she knocked softly on a double door before opening one side and holding it wide for me. As I entered, she left, closing the door behind her. Lemmy smiled as he rose from the table. Around him were fifty to sixty people scattered over the twenty or so tables in the room, the remains of a meal on the tables before them.

"Rod! Glad you made it!" he said loudly as he approached and took my hand. "Would you like something to eat? The food here is fantastic, and it's on the house."

"I'll pass, but thanks. I ate something earlier," I said as I released his hand. I was going to be fucking later, and I didn't want to feel bloated.

"Come... have a seat," he said as he directed me to his table. "I've been saving it for you. You should at least try the wine. It's an amazing Pinot Noir."

"Thanks. Just water for me."

"You're sure?"

"Very. I'm working later and I don't want my performance... dulled."

Lemmy grinned. "I understand," he said as we sat. "I'll send a bottle home with you."

I glanced around the room. Jen was there, as was Silvie and Nikki, along with Grace and Mattie. I recognized several of the other people as members of the crew from

Fucking the Jizzarian,

though I didn't know their names. I wasn't sure about the remainder, wondering if they were new or I just didn't remember them, but two people who I was sure were missing were the guy who built Londo, and Daiki, and I wondered if they were on the production.

"We're still shooting tonight?" I asked.

He nodded. "We plan to start about midnight, after the winery closes. Jen and I have been here with a small crew for the past couple of weeks, shooting B-role, scouting, and supervising the build of the shuttle set, so all we have left is principal photography."

"I looked over the script you sent me. You only have the bedroom set?"

"For an interior, yes. We've redressed one of the vineyard's offices that. I've also got an exterior section of a shuttle."

When Lemmy had contacted me, wanting me to reprise my role from the first film, I'd quizzed him about the new one. This film was going to be significantly different from the first. The first film had taken place entirely on the

Hardwood Hauler,

the name given to my fictitious ship. This one,

Fucking the Lamia, (In the Jungle, No One Can Hear You Cum),

was going to be primarily filmed outside.

I hadn't been thrilled with that idea, not wanting a bunch of strangers standing around to watch me fuck, but Lemmy assured me that we'd have only the normal crew there. The same person that had funded the first movie, and was funding this one, also owned the winery, and the production was being kept very hush-hush to avoid tarnishing the winery's reputation. Obviously, the winery crew knew there was a movie being made there, but the only thing they'd been told was it was part of a low-budget science fiction film, tentatively called

Smuggler.

The initial film was supposed to have been little more than a proof of concept to keep the money flowing. The goal was to get Londo working well enough so that he could be used in a series of traditional tentacle porn videos, but it hadn't worked out that way. Even after the monster crew had installed their new control valves, they still didn't have fine enough control over the small tentacles. They'd tried, but the actress had complained the tentacle was too rough and painful to endure. With no more ideas on how to improve the fidelity of the controls, they'd abandoned the idea of fucking women.

Scrambling, Lemmy had come up with the idea of repurposing Londo's large tentacles into a lamia. A lamia, I learned after looking it up, was a snake woman from Greek mythology, and like in the first movie, I was going to fuck her. Not only was this movie going to be filmed outside, and I was fucking a snake woman instead of a tentacle monster, but in this movie, I also had considerably more lines. So many that Jen had written a script. Lemmy hoped to make enough money from the combined videos to not only recover the development and production costs for both films, but to also turn a profit.

"Since you don't want to have anything to eat or drink, you want to see the sets?" Lemmy asked

"Sure," I replied.

Several of the crew started to stand, but Lemmy waved his hands. "Keep your seats. I'm just going to show Rod around."

"I think I'll tag along, if you don't mind," Jen said.

"Sure," Lemmy agreed. "You remember, Jen, right?" he asked me.

I smiled. "How could I forget?" I asked, causing her to beam.

After I'd finished shooting

Fucking the Jizzarian,

Jen had given me her card. Three days later I'd called her, asking her if she wanted to join me for dinner. She'd begged off that night, but had arrived Friday evening wearing nothing but exercise shorts and a sports bra. It was clear what she wanted, and we'd spent the entire weekend fucking our brains out. If we weren't eating or sleeping, we were fucking. During one of our hard and sweaty fuck sessions, she'd breathlessly admitted she was trying to break me as she thrust furiously on my cock. It had been a near thing, but I'd fucked her every time she'd wanted it to maintain my reputation.

She'd left Sunday afternoon, and after our exhausting, come covered weekend, I hadn't seen her again until now, despite calling her a couple of times. After she'd begged off on my second invitation, claiming she was busy, I'd stopped bothering her. I wasn't upset. She'd gotten what she'd wanted from me, and I'd enjoyed giving it to her.

In the six months since I'd seen her, she'd changed her hair color from green to a more natural brown with green streaks, she was wearing small, stylish glasses, and she'd ditched the nose ring. She still had her amazing breasts, even if they didn't look as good this evening as they had when they were wrapped around my cock and covered with come, and though I wasn't sure, she may have also lost a couple of pounds.

"You've changed your look," I said softly as she joined me at my side.

We followed Lemmy out of the room as she smiled. "Yeah. I'm beginning to realize I'm not twenty anymore, and I've decided maybe it was time for me to start looking more my age."

I didn't know how old she was, and I damn sure wasn't going to ask, but I knew with almost certainty she was young enough to be my daughter. "It looks good on you, but I hope it wasn't because of me," I said.

"It kind of was," she whispered as we followed Lemmy toward the back of the restaurant. "I'd been wondering if I was starting to look like I was trying too hard, and after spending the weekend with you, I realized I don't have to be twenty to party. I'd never been fucked like that before... and... well..." She shrugged as her smile widened slightly.

"And the...?" I asked as I tapped my temple.

She grinned. "That's not because of you. I've worn glasses since junior high. Normally I wear disposable contacts, but my order hadn't arrived before I left to come up here, and I've run out."

I grunted in understanding as we waited for Lemmy to use the badge hanging around his neck on a bright yellow lanyard to open a door at the back of the restaurant. Jen was wearing the same badge and lanyard, and I'd noticed a lot of the crew had the same lanyard around their necks as well.

"Why didn't you come back?" I murmured as we followed Lemmy down a long hall with doors on both sides before he stopped at another door and swiped his badge.

She didn't answer as Lemmy opened the door and slowly led us up a flight of stairs. "I really was busy coordinating post and ADR, not to mention helping Lemmy with preproduction, and writing the script... and I..." she whispered after allowing Lemmy to get a dozen steps ahead of us, but then fell silent again, maybe not wanting him to overhear when he paused on the second-floor landing.

When we arrived at the top of the steps I looked up. There appeared to be one more floor above this one. He opened the door and turned left toward the front of the chateau. This floor was obviously the administrative area of the winery, with carpeted floors, artwork on the walls, and large offices with wood furniture inside.

"You just had an itch you needed scratched?" I asked softly as we followed Lemmy. She couldn't meet my eyes. "Don't worry about it. I'm not upset. I was just wondering. It seemed like you had a good time. I know I did."

She smiled as Lemmy entered an office where a desk and other office furniture were sitting in the hall, light suddenly pouring from the open door as he did. "A

very

good time," she purred as we followed him into the office.

Immediately inside the door was a wall with the framing exposed. Without pause, Jen made a right and led me about six feet through the shoulder-width passage before turning left into another room.

As I entered the room, I knew immediately that I'd stepped onto a set. The office's furniture had been replaced by a low bed offset in the room to the far side. Around the bed, the room had faux walls, with the wall on the far side of the bed appearing to have doors and drawers built into them. Above the drawers there was a large mirror with a counter below to hold items. In the center of the wall there were a pair of sliding doors, like those on the Londo set, that were deeply recessed.

The rest of the room contained more wall sections that hadn't been installed, along with sleek, modern-looking, plastic furniture to form an area to relax or entertain. Stacked on the bed were two large carboard boxes labeled

Bedroom.

The set was incomplete, but what was there was clearly in the style of the ship in the previous movie, and I wondered how much had been reused.

"Rod's bedroom," Lemmy said as we coasted to a stop among the clutter. "I know it doesn't look like much now, but we only have use of the office tonight. We've spent the last four hours building it out. After dinner, we'll finish that, and dress it while we're shooting outside. As soon as we're finished there, we'll quickly get the shots in here, and then we'll start tearing it down and putting the office back the way it was, so the vineyard can have it back in the morning."

"What's behind there?" I asked, gesturing to the door in the bedroom portion of the room.

"Nothing. The doors are fixed in place, but if this were a real ship, they'd open into a bathroom."

I nodded. This would be so easy to shoot greenscreen, especially since it was going to be in only one scene, and that short and at the end of the movie when a lot of people will have already stopped watching. "I'm surprised you went through the expense of building a set since you're trying to keep the cost down."

He shrugged. "This didn't cost that much. I budgeted ten thousand for the set, and I think we're going to come in well under that. There's nothing to it. We dressed a regular metal bedframe with pieces of the same PVC we used to build the shuttle, along with a piece of foam left over from Stasil. The walls and doors are from the Londo shoot, and the drawers are reworked file cabinets I bought used for ten bucks each, with the walls cut to fit around them." He jerked his thumb at the furniture. "Rented for about ten bucks a day. The crew has provided several boxes of do-dads for free, Nikki found some futuristic looking fabric to go on the bed, along with cheap outer spacy looking artwork for the walls, and we're done."

I glanced around the set again and smiled. "Not bad. What else have you got?"

Lemmy grinned. "This way, and I'll show you where all the money went."

He led us out of the office, turning off the lights as we went, before turning right down the hall, leading us away from the dining room and out of one of the chateau's back entrances. The guest areas at the front of the chateau were impeccably kept, with the stone driveway and immaculate grounds, but back here, it looked like what I supposed a working winery looked like, with industrial buildings, tanks and piping, and black tarmac. I followed him away from the chateau as we made our way uphill toward the industrial complex. When I saw the large, warehouse looking buildings, I'd assumed the shuttle set was inside one of them, but he led us around the corner. With the three or four story, faded yellow metal wall on my right, and a row of grapevines perhaps fifty feet to my left, we made our way toward the line of trees in the distance.

The building was longer than I expected, at least four times as long as it was wide, and Lemmy was breathing heavily by the time we reached the back of the metal structure. As we rounded the corner and began walking along the back of the building, I realized the trees were part of the line I'd seen from the front of the chateau. Ahead, about thirty feet off the back of the building, at the edge of the tree line, was some kind of structure. As we drew nearer, I realized what it was.

"Fuck," Lemmy huffed as we stopped in front of the shuttle set. "I'm getting too fucking old for this shit. Anyway, that's the shuttle." Lemmy was probably in his mid- to late-sixties, with thinning, silver hair, but what was hurting him more than his age was the extra hundred or so pounds he was carrying.

I walked up to the set. It was perhaps fifteen feet wide and about twenty high. Most of the ship was thin, not more than three or four feet deep, though the center, where a ramp was attached, extended at least twenty feet farther back. Looking at the set, I decided I was looking at what was supposed to be either the bow or the stern of the ship. There was a wide ramp leading up to a platform built into the structure, with a cutout above that would house the ramp when it closed to seal up the ship. The shuttle was a squat thing, resting on two thick legs that looked like shock absorbers, with large three-toed feet at the bottom. Perhaps two feet beyond the legs, a greenscreen hung to hide the missing ship.

Looking up, it seemed the feet were designed in such a way to seal the bays when the legs retracted into the ship in the same way the ramp did. The ship appeared to have been well used, and was painted and styled so that it shared a design language with the CGI

Hardwood Hauler

from the previous movie.

"May I?" I asked while gesturing to the ramp.

Lemmy nodded as his breathing slowly returned to normal. "Sure. Go ahead."

As I walked to the ramp, I could see large red, green, and white lights mounted into the underside of the shuttle, along with openings that seemed to contain some type of corrugated pipe. I walked up the sloped ramp before turning to look down at Jen and Lemmy. The A side was built on a metal scaffolding from what appeared to be thin but rigid plastic sheets, with either heavier plastic or wood used for the ramp and platform.

Being careful of my footing, I peeked around the edge of the greenscreen before glancing up. There were two steel cables running through pulleys that went into the nested arms that connected to the end of the ramp. The arms were styled to resemble hydraulic cylinders, but they were obviously there only to hide the cables. The cables connected to a bar, which in turn was connected to a winch bolted to a metal plate buried under dozens of sandbags. Beside the winch was a gasoline generator and another machine that was connected to a series of large diameter hoses, like those I'd seen under the shuttle, with each of the four hoses controlled by a valve. Wiring traveled up from the bottom of the set, zip tied to the scaffolding in various locations, as it was routed to a bundle that was hanging from a single piece of pipe, before returning to the ground and ending in a small metal box with a breaker.

I'd thought the set had been built on the ground, but looking behind the greenscreen that hid the fact there was no shuttle beyond the facade, was a concrete pad. I'd have to take care up here. There was plenty of room to stand, but the only thing that prevented me from walking off the back or sides of the platform, and falling the eight to ten feet to the concrete below, was the thin fabric greenscreen surrounding the platform, backed by a safety railing made from the same scaffolding as the shuttle's structure.