"I want to play with Joanna," you say through Sarah.
"I want to play with Mary," you say through Dana. "But it doesn't matter what I think—"
"It matters what we think," you have both girls say in unison.
There's no real point in carrying on a conversation, but if you're going to pretend to be multiple people it's a good idea to practice. So:
"We should start slowly," says Dana.
"Then let's start with Joanna, since she's already here," says Sarah.
"A good point, sis."
You walk Dana back to the upstairs bathroom, where Joanna is still unconscious. You bend Dana over and have her pull open her sister's friend's mouth, dropping a streamlet of yourself down her throat. With a rush of warmth you feel Joanna's muscles coming to life under your control. You open her eyes, then use Dana to help her up. "Welcome back to the club," says Dana.
Walking the three girls at the same time is difficult, but you get them all into Dana's bedroom, where you sit them cross-legged on her bed and wrap their arms around each other's waists. You are confused and disoriented by looking at the world with three pairs of eyes, so you close their eyes, set them to breathing softly, and concentrate.
You are now aware only of your tripartite body. With a little concentration, you raise Dana's hand and set it to stroking Joanna's head: it feels as though you are stroking your own head, but you can also tell that the arm belongs to a different body—to Dana's. You have Joanna reach out and stroke Sarah's cheek. You extend Sarah's leg, putting her foot in Dana's lap. While still stroking Joanna's head with one of Dana's hand, you have her use the other to untie Sarah's shoe, and pull it off along with her sock.
For the next hour you keep the girls' eyes closed and continue practicing different tasks. You occasionally falter, but it's not long before the possession of three bodies feels as natural and organic as the possession of one. Then you're ready for another test.
You open Dana's eyes and look about the room. Then, keeping the other girls' eyes closed, you use Dana's eyes to guide them about the room, straightening it up. Easy. Then you send Dana downstairs while the two younger girls undress themselves. The experience is odd, though not in the way you'd expect: Even though Dana is on another floor and on the opposite side of the house, she doesn't feel any farther from the other girls than she did before; you feel as though you could reach out with Dana's hand and still touch them. This illusion is a little strange, but it is easy enough to ignore. It's even a little exciting, so you send Dana out to check the mailbox; it still feels as though she and Joanna and Sarah are right beside each other.
You send Dana back upstairs, where she rejoins your other puppets in her bedroom. You sit them in a circle again, with Dana holding one of her teddy bears in the middle of the circle. You open Sarah's eyes, and then open Joanna's; you lock all eyes on the teddy bear.
Incredible: you can see it simultaneously from three angles, making you intensely aware of its shape and location in space. It's like super-stereoscopic vision. You reach out with Sarah's hand and Joanna's, and stroke the bear's head. You are made dizzy for a moment when their hands touch each other, and then you get a huge, almost erotic jolt when you make them grasp their hands The combination of super-stereoscopic vision and the extended control of a tripartite body is a huge rush. You drop the bear and bring the other four hands into the center of the circle, where you clasp them all together. You raise Dana's eyes and Joanna's and have them look at each other: the effect of looking deeply into one set of eyes with another is piercingly sweet.
You move all three girls into the center of Dana's bedroom. This is now much easier than it had been when you first took them into the bedroom. Although the rush of visual information is still a little disorienting, your familiarity with juggling three bodies keeps things smooth.You stand them in a circle with their backs to each other and raise their heads. The effect is of a 360-degree view of the room. The experience is less exciting than when the girls were looking at each other, but also less dizzying. You have them turn their heads, and you get a bit of the former rush when their fields of vision overlap. When you look at a nearby object with two pairs of eyes, the object almost seems to be inside of you.
You feel much more confident in your control now, but you still want to take things slowly. So you put Dana on her bed and close her eyes,and then send Joanna to the bathroom and Sarah back down to the kitchen. Again, it feels as though all three girls are close to each other, but the effect is much less pronounced when their eyes are telling you they are far apart. You have no problem coordinating the conflicting visual information as Joanna looks at herself in the mirror while Sarah looks inside the refrigerator. You then begin washing Joanna's hands while fixing three sandwiches in the kitchen. This is a little harder: you have to move each girl quite slowly and deliberately to avoid making mistakes. But it is also less difficult than you had feared, and before you've finished putting the finishing touches on the sandwiches, you've lifted Dana off the bed and moved her to the computer, where you use her to do a YouTube search for some music videos.
Joanna's hands are now ridiculously clean, so you walk her down to the kitchen, where you can practice talking. "Hey, can I help?" you say through her as she comes in.
"You can get out some drinks," you then reply as Sarah.
"What do you want?"
"I want orange juice and Dana wants a Diet Coke."
"You don't know what Dana wants."
Trying to preserve a little bit of realism, you stop Sarah. "Right, I don't. Dana! What do you want to drink?"
Dana ... has she heard? Of course, in her mind she has, but it's hard to tell if the sound reached her ears. You keep her silent.
"Dana! What do you want to drink?"
"Don't scream. Just go ask her," you have Joanna say.
You roll Sarah's eyes and send her running upstairs. You're proud of that: you've got Joanna pouring orange juice, and she doesn't spill a drop; neither does Sarah trip.
At the top of the stairs, you beat Sarah's fists on Dana's closed door. "I'm making us sandwiches, Dana. What do you want to drink?"
"A Diet Coke! Thanks!"
You run Joanna downstairs again. "See, I told you."
Joanna and Sarah take sandwiches and the glasses upstairs without incident. The sandwiches are all identical, but you're startled to find that each one tastes slightly different in each girl's mouth. Afterward, you sit them down and have them watch music videos.
It's getting late in the afternoon, and you are guessing that Dana and Sarah's parents will be home soon. Though you feel like you're getting a solid hang of things, you're not sure whether you should chance separating the girls for the night. You can pull yourself back into one body, or you can try to keep running them as practice.
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