SCENE 1
Stephanie is going to bed, wearing only a nightshirt and socks. She turns out the light but a moment later hears a sound and sits up. It repeats and she gets silently out of bed and tiptoes over to the doorway: There’s nothing there. When she turns around he is standing in front of her, a big man, his figure darker than the darkness of the room. Stephanie starts in shock but then becomes strangely calm and turns her back to him. His arms reach under her nightshirt and he starts fondling her breasts. She becomes excited and cries out in pleasure as he penetrates her doggie-style and starts fucking her.
Stephanie, lying in bed, is awakened by the sound of a garbage truck not far from her window. She glances at the clock: 5 A.M. As the truck drives away she begins to masturbate.
SCENE 2
The next morning, Stephanie is behind her desk at work. There’s nothing in the cubicle which would personalize the space for her; even the plant on the windowsill is part of the corporate decor. Stephanie’s attention moves listlessly from the papers on her desk to the information on her computer screen. Off, some of her co-workers laugh about something but she doesn’t really notice them. After a moment, a smiling co-worker sticks his head in her cubicle.
CO-WORKER: Ready to get some lunch?
SCENE 3
Lunchtime. Stephanie is sitting alone on a bench in the park. She sees a mother holding an infant, sitting on a nearby bench in this somewhat isolated area. The mother starts to breast-feed the baby, taking care not to expose herself as she does so. Stephanie watches with a small smile. The mother, not noticing Stephanie, starts rubbing herself between her legs as the baby feeds. Stephanie watches intently, shock mixed with a certain erotic thrill. After a moment, her co-worker’s voice is heard, more annoyed than outraged:
CO-WORKER’S VOICE, OFF: Oh, that’s gross!
Stephanie turns with a start: Her co-worker stands next to her, holding a bag from a fast-food restaurant and looking off at mother and baby. He turns to Stephanie.
CO-WORKER: I’m sorry, but are women allowed to do that in public?
Stephanie looks back at mother and baby. The mother is only breast-feeding her child, as before. He sits beside her on the bench and eats french fries from the bag as he pokes around in it.
CO-WORKER: Maybe I’m a prude, but can’t she just use a bottle when she’s outdoors?
He takes food out of the bag for them both. Stephanie is still a little flustered from what she’d been imagining and can’t quite say anything to him yet. He doesn’t notice.
CO-WORKER (genially, with no innuendo): Here’s something you’ll like.
He produces a large hot dog that protrudes prominently from its bun.
SCENE 4
Later that afternoon. Stephanie is back at work, only now she’s sitting with her back to her desk, ignoring the papers and computer screen. She holds a paper cup of coffee in her hand. Her gaze is fixated on the plant. Finally she leans in toward it and takes a few of its tendrils into her mouth and then nuzzles her face into them.
SCENE 5
Stephanie is driving home from work. Nothing in her car personalizes the interior as hers. She drives efficiently but distantly, as though not engaged in what she’s doing.
SCENE 6
Stephanie is attending a group aerobics routine at a health club. Near her is her friend Jill, a tall black woman. She catches Stephanie’s eye and makes a face at the arduousness of the workout. Stephanie starts to giggle.
SCENE 7
The two women are showering. Stephanie tries not to stare at Jill’s body. Jill shows no notice.
SCENE 8
Early evening. The two women enter Jill’s apartment. They’re both dressed in tank tops, jeans, and sneakers.
JILL: I won’t keep you long, buy you gotta meet Waldo!
STEPHANIE: Yeah, I really should get going, but I do wanna check him out.
Jill heads toward a large glass tank.
JILL: Do you want some coffee or tea?
STEPHANIE: No, no thanks.
JILL: Soda? Beer? Wine?
STEPHANIE: No, I’m good thank you.
Jill scoops up a large snake from the tank.
JILL: Then say hello to Waldo.
Jill walks over to Stephanie and lets the snake start to slither onto her.
STEPHANIE: Hello, Waldo.
JILL: Say hello to Stephanie, Waldo.
Stephanie enjoys the sensation and tentatively touches the snake with her free hand as it glides across her bare arm. She starts becoming aroused as it moves up along the bare skin around her neck. Jill eventually takes it off her and puts it back in the tank, not noticing Stephanie’s reaction.
STEPHANIE: I really should get going.
Jill turns around, looks at her, and makes a little chuckle.
JILL: Hon, you need to fix your top before you go.
Moisture from her nipples has stained her top, spreading in dark rings.
SCENE 9
Stephanie is driving away from Jill’s. She’s wearing a somewhat-oversized sweater, obviously a loaner from Jill. Her cell phone rings. She pulls it out of her purse on the passenger seat and answers it.
STEPHANIE: Hello.
JAY’S VOICE: Hey, it’s me.
She’s pleased that he’s called.
STEPHANIE: Jay baby, how are you?
JAY’S VOICE: I’m good. How have you been?
STEPHANIE: All right. Busy. The same.
JAY’S VOICE: Yeah, me too.
STEPHANIE: I haven’t heard from you in a while.
JAY’S VOICE: It’s been a hectic couple of weeks for me.
STEPHANIE: Uh-huh.
Pause.
JAY’S VOICE: Can I come over tonight?
STEPHANIE: Make it after nine o’clock.
JAY’S VOICE: I’ll see you then.
STEPHANIE: OK. Bye-bye.
JAY’S VOICE: Bye.
Stephanie clicks of the cell phone and puts it back in her bag. She smiles broadly.
SCENE 10
A short while later. Stephanie enters her apartment, snaps on the lights, and puts down her purse and gym bag. Her home is neat, organized, and impersonal. She takes off the sweater, drapes it over the back of a chair, and starts walking to the bathroom, peeling off her top. She looks at her breasts in the bathroom mirror with a distant curiosity. She gazes a little lower down and frowns slightly: We see there’s a light but visible reddish mark, vertical, from a little below her abdomen to a little above her crotch. It looks like a welt or scratch but there’s no break in the skin. She touches the area gently: It isn’t painful.
SCENE 11
A short while later. Stephanie and Jay are embracing and kissing, standing up. They get more passionate and his hands slide up under her blouse, caressing her back. Stephanie slides a hand inside the back of his pants, caressing his ass. He starts to tense up. Suddenly she digs her hand in deeper and he pulls away from her.
STEPHANIE: What’s the matter?
JAY: I don’t want you doing that.
STEPHANIE (icy but also a little amused): What if I want to do that?
JAY (lamely): We shouldn’t.
STEPHANIE (darkly): If I want your ass, you’ll give it up for me.
She rubs his crotch, feeling his erection. She smiles knowingly.
STEPHANIE: Do it.
He slowly undoes his belt, unzips his fly, and lets his pants drop to his ankles. Stephanie grins at the erection straining in his briefs. She grabs his shoulders, turns him around, and bends him over the couch – and onto a beach towel, folded over the back of the couch, which wasn’t there when she first got home. She yanks down his briefs, exposing his ass, and pulls open a drawer in an end table: A double-headed dildo, strap, and tube of KY are in there.
In the next shot, she’s on top of him, fucking his ass with the strap-on. Her jeans are in a pile at her ankles, just like his pants; both are naked from the waist up. Her head is on his right shoulder. They’re both enjoying it.
STEPHANIE (into JAY’s ear): Tell me you love it.
He remains silent. She starts to pound him harder, her thrusts emphasizing her words, her voice getting louder.
STEPHANIE: TELL me you LOVE it! TELL me you LOVE it! TELL me! TELL me! TELL me!
Jay has an orgasm as he tells her the truth.
JAY: I love it! I love it! Oh God! Oh God! I love it!
SCENE 11
A short while later. Stephanie and Jay are sitting face to face at her small dining-room table, fully clothed, drinking some wine. His ass is sore and he fidgets a little in his chair, trying to avoid her eyes as she smiles at him.
JAY: I don’t know why I let you do that.
Stephanie mimics him, not kindly:
STEPHANIE: “I love it! Oh God! I love it!”
In a fury, Jay throws his glass to the floor and it shatters. He gets up and walks out, slamming the door. Stephanie can’t bring herself to look after him.
SCENE 12
The next day, late afternoon. Stephanie is in a hospital room, visiting her father. He has all sorts of tubes coming out of him, which are hooked up to machines. He is totally unresponsive as she reads aloud to him from a book: Dante’s The Divine Comedy. What she’s saying starts to make her cry.
STEPHANIE: “I yearned to know just how our image merges
into that circle, and how it there finds place;
“but mine were not the wings for such a flight.
Yet, as I wished, the truth I wished for came
cleaving my mind in a great flash of light.
“Here my powers rest from their high fantasy,
but already I could feel my being turned –
instinct and intellect balanced equally
“as in a wheel whose motion nothing jars –
by the Love that moves the Sun and the other stars.”
SCENE 13
Stephanie’s office. A tall and good-looking young man is making a presentation to Stephanie and some of her co-workers. She looks at him intently.
SCENE 14
Stephanie’s apartment. She and the young man from work are sitting together on her couch. She leans over and unzips his fly as he smirks at her. Three erect penises come thrusting out of his pants. She faints, falling backward.
SCENE 15
Stephanie falls to the floor in a faint at work. People come flocking to her in shock and concern.
CO-WORKERS (variously): What is it? What happened? Are you OK?
STEPHANIE (waking up): I’m OK, I’m OK!
She gets up and runs to the ladies’ room. The others look after her in confusion.
SCENE 16
Stephanie is standing in a toilet stall at work, with the door locked. She unbuttons her blouse and examines the reddish skin below her navel. It’s now a distinct ridge, maybe a half-inch wide, with a slight crease running down its center.
SCENE 17
That evening, near sunset. Stephanie walks out of the hospital as a car pulls up to her: Jill’s at the wheel. Stephanie, haggard and distracted, gets in the car and Jill drives away.
STEPHANIE: Thanks, Jill, for meeting me here.
JILL: Hey, no trouble. Is your Dad doing any better?
STEPHANIE: No.
JILL: I’m sorry. (Pause) How about you, Stephie?
STEPHANIE: Huh?
JILL: How are you holding up?
STEPHANIE: OK.
JILL: You don’t look good, hon. Maybe you should see a doctor.
STEPHANIE: No! No doctors! Not me!
JILL: OK, OK!
STEPHANIE: I know what I need.
SCENE 18
A short while later. Jill and Stephanie are in Jill’s apartment, seated on a couch. Stephanie tokes on a joint which she then passes to Jill. As she takes a hit, Stephanie looks at Jill, her eyes burning with desire. Jill notices.
JILL (coyly): What?
STEPHANIE: If you had a cock, you’d be perfect.
JILL: Baby, I can have as many cocks as you want!
Jill pulls open a dresser drawer and displays a plethora of oversized dildos: They begin to writhe and slither like worms in a bait shop. She pulls one out, and it twists in her hands.
JILL: This one’ll reach you in places you didn’t know you had. It always finds them!
Jill lets it burst free from her hands and drop to the floor. It goes right up Stephanie’s leg and disappears under her skirt, making its way into her vagina.
JILL: Great, isn’t it?
Not waiting for a reply, she scoops up a handful of wrigglers from the drawer and dumps them on the floor, and they all start to go up Stephanie’s legs. She’s very frightened yet forces herself to submit to them.
SCENE 19
Stephanie starts awake and looks around her. She discovers that she’s standing on the roof of her apartment building, stark naked. She runs for the roof door and dashes down the stairs.
SCENE 20
Stephanie goes to her apartment door, which is still partially open. She enters and locks the door behind her, and sees the clothes she had been wearing, strewn in a trail from the living room to the apartment door. She walks around them, takes a robe from her bedroom closet. Before putting it on she looks at herself in the mirror on the door: The strange growth on her abdomen is even more pronounced and now looks distinctly vaginal. Staring, Stephanie fights back tears of fear and confusion. Suddenly the phone rings, startling her. She hesitates for a moment then answers it.
STEPHANIE: Hello?
GRANDFATHER’S VOICE: Hello, princess.
STEPHANIE: You’re at the hospital?
GRANDFATHER’S VOICE: Yeah, we’re here. It’s over, darling. He passed away just ten or fifteen minutes ago.
She’s silent.
GRANDFATHER’S VOICE: Princess, you still there?
STEPHANIE: Yeah Grandpa, I’m here.
GRANDFATHER’S VOICE: It was easy, darling. He finally stopped fighting just about an hour ago, and then he slipped away very peacefully.
STEPHANIE: Thank God. (Pause) Is Grandma there?
GRANDFATHER’S VOICE: She’s still in the room. You want me to get her?
STEPHANIE: No, that’s OK. Just tell her I’ll speak to her later. And that I love her.
GRANDFATHER’S VOICE: We love you too, princess. We’ll take care of everything here and we’ll call you after we get home.
STEPHANIE: Thanks, Grandpa. I love you.
GRANDFATHER’S VOICE: Love you too, dear. ‘Bye.
STEPHANIE: Bye-bye.
Stephanie hangs up the phone. She looks at a framed photo on her dresser: Herself as a teenager, together with her father; they’re both laughing at something, not even aware their picture was being taken.
STEPHANIE: Oh Daddy. I’m scared. I’m scared, Daddy.
She starts to cry.
SCENE 21
A few days later: early afternoon, at the cemetery. Stephanie, dry-eyed, stands next to her weeping grandparents as her father’s coffin is lowered into the ground.
SCENE 22
Later that afternoon. The home of Stephanie’s grandparents. As people mill about at the reception after her father’s funeral, Stephanie goes over to where her grandparents are sitting. Her grandfather is pouring himself a drink – not his first.
GRANDMOTHER (to Grandfather): – that’s all I’m saying. I don’t know how we’re supposed to go celebrate our anniversary tomorrow, after all this.
GRANDFATHER: Then we’ll celebrate it here.
He holds up his drink in a toast.
GRANDFATHER: God bless the Martians!
GRANDMOTHER: That’s not funny, Vic.
Hurt, she gets up and turns away from him as he drinks, and bumps into Stephanie. They both go “Oh!” and look at each other.
SCENE 23
A few minutes later. They’re sitting alone in an upstairs bedroom.
STEPHANIE: Grandma, what is he talking about?
GRANDMOTHER: What do you mean, dear?
STEPHANIE: Grandpa. What does he mean about “the Martians”?
GRANDMOTHER: Oh, ignore that.
STEPHANIE: You didn’t. What was he referring to?
GRANDMOTHER: The reason we got married in April instead of June.
STEPHANIE: Martians?
GRANDMOTHER: I had experienced something earlier in the spring that was very upsetting to me. After that, the only time I didn’t feel anxious or frightened was when I was with Vic. He saw how much I was suffering and how much I needed him, and we went off and eloped. Then we vacationed in Los Angeles and settled here. Both our families blamed him, but he did it all for me. I needed the change badly.
STEPHANIE: You never told me much about that time. Did something happen to you? Something bad?
Grandmother hesitates for a moment, then begins speaking, relieved to be finally saying it.
GRANDMOTHER: It was just before five in the afternoon – I remember that I went to turn on the TV because the news was about to start. And as I bent down to touch the knob, I glanced out the window and saw it, plain as day: shaped just like a saucer, with colored lights running all around the rim of it. I could see it over the crest of the hills, moving slowly from west to east, and then it changed direction and started coming toward the house. It stopped about 100 yards away and then went straight up and disappeared.
STEPHANIE: Were you scared?
GRANDMOTHER: Oh, yes. I was frightened but at the same time I was kinda excited, you know? I was 19.
STEPHANIE: What did you do?
GRANDMOTHER: I ran out of the house and stood in the yard, and I looked all around and saw nothing. Then the next thing I knew there was this large black shadow in front of me. And I turned and saw that it had come to maybe 40 or 50 feet above the ground, right over the house, but I hadn’t heard a sound or seen any lights or even felt the air move. It seemed triangle-shaped now, kinda greenish silver, but more iridescent, with the colors shimmering. Then there was this very bright yellow light, and… I… I must have blacked out, I guess. And when I woke up, I was lying on a beach. And I realized that I was in Santa Monica. Somebody nearby had a radio playing, and the announcer was saying that it was just 6 o’clock. I had gone from Oakland to Santa Monica in an hour.
STEPHANIE: What do you remember about that time?
GRANDMOTHER: Almost nothing. Floating, like. On my back. Lights flashing. Hands.
STEPHANIE: Hands?
GRANDMOTHER: Small, like a child’s hands, only with longer fingers.
STEPHANIE: Touching you?
GRANDMOTHER (nods): On my face and arms, I remember. My back too, I think. And… between my legs.
STEPHANIE: Did they hurt you?
GRANDMOTHER: I felt no pain. And there wasn’t a mark on me when I woke up.
STEPHANIE: What did you do, there on the beach?
GRANDMOTHER: Well, I went to the police – who were awful, really cold and unhelpful. The nicer ones treated me like I was crazy. But I was able to call Vic. He had gone to Los Angeles to visit family, just a few days before, and he came and got me. I told him the whole story as we drove back home that same night, but he didn’t believe me. He even started rethinking our engagement, I could tell. But over the next few weeks, when he saw me become more withdrawn, and how frightened I’d get at any sudden sound or bright lights, he knew that I needed help. And he helped me. Everyone thought we eloped because he’d gotten me pregnant, but that wasn’t true. The twins were born in January, nine months almost to the day after we left Oakland.
STEPHANIE (remembering): Dad had a sister.
GRANDMOTHER: Jessica. You have her eyes, you know. The same build too: She would have grown up to look a lot like you now. Oh, my Jessie… She could be a terror, but Vic and I doted on her something awful.
STEPHANIE: Would she beat up Dad?
GRANDMOTHER: She gave everyone a hard time – especially that last year. She was also very bright, very funny, very self-reliant, with good instincts. But when she turned 12 and her body began changing, it upset her and she got kinda difficult.
STEPHANIE: How do you mean?
GRANDMOTHER: She became very touchy and would get upset if anyone even looked at her body. She used to cover herself up with a blanket as soon as I’d come into her room.
STEPHANIE: Puberty can be rough.
GRANDMOTHER: For you it was an easy time, but poor Jessie found it very disorienting. Started getting weird nervous habits. Sleepwalking. Or we’d all be sitting at the dinner table and talking, and she’d just go someplace else in her mind.
STEPHANIE: Daydreaming.
GRANDMOTHER: No. No, it wasn’t. She’d just… go away. Once Vic had to call her name four times before she realized he was talking to her.
STEPHANIE: Were you worried about her?
GRANDMOTHER: In that last month it was getting a lot worse. One time she sleepwalked and Vic found her on the roof of the house. I insisted that she go see a doctor, and she got furious. Her latest thing was to fly into a rage and storm out of the house. And it was as she was walking back home from one of her blow-ups that that drunken bastard ran her down. I hope he’s burning in Hell right now, God forgive me.
STEPHANIE: You never had any more kids.
GRANDMOTHER: I couldn’t after the twins. It was a very difficult delivery.
STEPHANIE: Grandma?
GRANDMOTHER: Yeah?
STEPHANIE: How come you and Grandpa went back to Southern California when you eloped? Didn’t it creep you out to be so close to where you were found?
GRANDMOTHER: What creeped me out was trying to live back at home! I never felt safe in that house again. But there on the beach, I was… It’s the strangest thing. I’d been to L.A. and Santa Monica when I was 15, on a vacation, and it was maybe the happiest time of my life. And when I woke up on the beach that afternoon at six o’clock, I felt very calm – I was someplace I remembered so fondly, you know? One reason Vic came and brought me back to Oakland as fast as he did was because he could tell in my voice that I didn’t want to go back home, I wanted to stay there. You know, people later said that I just went into some kind of hysterical state and traveled back to where I’d been happy, without really being aware of it. But to have done that I’d have had to have left the house in the morning, and I was home all day long – until five o’clock. The only person I saw that day was my Mother, when she left for her job at 8 AM. Nobody called and I didn’t call anyone. So no one believes me. But I didn’t have the money to take a trip like that. And when I woke up on the beach, I didn’t have a dime on me. I didn’t even have shoes!
STEPHANIE: They took your shoes?
GRANDMOTHER: I was barefoot when I ran out of the house.
STEPHANIE: But you still felt calm?
GRANDMOTHER: Yes. I just felt very good, very peaceful and serene. I always thought it was so very kind of them to leave me there like that. I think they did it deliberately because they knew that I’d like it. Whoever they were, they had investigated my mind as well as my body, and they made sure to return me somewhere that would be the least disturbing for me, someplace where I would feel good. And I did, I felt great!
SCENE 24
The next day, around sunset. Stephanie is in the lobby of her apartment building, holding two bags full of groceries. She opens her mailbox and takes out her mail. One of her neighbors, a handsome, somewhat older man, emerges from the laundry room carrying his wash. He sees her.
NEIGHBOR: Hey, Stephanie, lemme help you with that.
STEPHANIE: You already have your hands full.
NEIGHBOR: Well, I can at least ring for the elevator.
He does so. They wait for it.
NEIGHBOR: Are you busy this evening?
STEPHANIE: Me?
NEIGHBOR: Yes, you.
STEPHANIE: Umm … yeah.
NEIGHBOR: Oh that’s too bad. Maybe another time.
Stephanie smiles at him politely.
SCENE 25
Stephanie enters her apartment with her groceries and the mail. She puts down the two bags and flips through the magazines and junk mail until she extracts a letter. She rips it open and pulls out a photo with a post-it over it. The note reads: “Stephanie: Thought you might like to have this picture of Jessie and Bill. Love, Grandma.” Stephanie looks at the photo: a mid-’60s black-&-white snapshot of Jessica and Stephanie’s father, both age 12, taken shortly before Jessica’s death. The girl’s eyes have a funny look, one that has also been seen in Stephanie’s eyes. She looks at her face in a mirror, glancing at the photo and comparing. She puts down the photo and pulls off her sweatshirt. She examines the second vagina that has taken shape on her abdomen. She slips her fingers into its lips and starts to get aroused. She takes off the rest of her clothes, leaving them on the floor, and stretches out in her bed. She begins to masturbate with her new vagina, muttering phrases that gradually become more distinct.
STEPHANIE: … I want you. Come to me. Come to me. I want you. Want you. Come to me. Come to me …
Her arm flinches two or three times. Stephanie withdraws her hand and examines her fingers: The skin, although unbroken, has the clear impression of bite marks.
SCENE 26
Later that evening. It’s gotten dark in Stephanie’s apartment. She’s still lying in her bed, naked. As in SCENE 1, she hears a sound and sits up. It repeats and she gets out of bed and walks to the doorway. She stands there in the darkness, panting audibly.
Someone or something approaches her: male in proportions but very large, between 7 and 8 feet. Dark and indistinct, he seems as much like an animal as a human being. He lowers his head to her, displaying what at first looks like a spiky/punk hairdo, but is actually the clustered members of something thicker and more responsive, an anemone-like tissue that erects and discharges sex pheromones. He nuzzles it into her face, like a large horse that’s showing not just docility but tenderness; for her, the sensation is profoundly erotic. She turns around, leaning her back into his chest, and he reaches to caress her breasts. His large hands get even bigger, with his palms tumescing into a ribbed or otherwise articulated skin, also responsive, with textured flesh rippling gently in waves from the base of the palm to the fingertips. He works her breasts and all the while nuzzles his do into the sides and back of her head. Stephanie lactates in heavy short spurts: a syrupy fluid, like a penis ejaculating. At that his tongue, long but slender and serpentine, starts darting forth, licking her skin and the drops of her milk.
He has three penises: The lower one grows from the area between the base of his scrotum and his rectum, shorter and thicker than the middle one situated above it. The upper one grows from the area between his navel and the base of his central penis and is longer and thinner. All three have a graceful curve to them when erect. When he enters her, he penetrates both her vaginas with his upper and central penises; with his lower penis, he enters her anally. His tongue works around one and then both of her clitorises, which have enlarged to a point where they resemble his lower penis. All their erotic tissue tumesces and gets bigger as they copulate. The two of them actually grow as well, as though they were composed of nothing but erotic tissue. His upper penis engorges and the slit in the head expands and opens to reveal two clear rows of teeth, snapping and biting at the air. As he slides it into her upper vagina it becomes longer and longer. Both their bodies jerk as their genitals increase the erotic sensation by biting at each other. His upper penis orgasms and a small amount of the semen wells up from her nostrils and mouth, which she expels with her breath.
Their orgasmic peak occurs when a tail-like, phallic organ frees itself from the base of her spine. What appeared to be the scrotum of his lower penis is actually his labia, and that penis is his enlarged clitoris. Stephanie enters him and pumps until she discharges. Soon after he orgasms profusely, his heavy semen dripping from both her vaginas. Stephanie has fertilized the eggs he was carrying, which he has now deposited inside her.
SCENE 27
Several months later. Daytime. Stephanie, pregnant, is buying baby stuff at a maternity store. She seems very happy.
(This treatment, written in 2004, appears here for the first time.)
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Film: Scripts & Treatments: Contents
NICOLE V. GAGNÉ 