The Hypnotist Next Door
by SoVeryFascinated
Author’s Note: During my second bout with COVID, in March, I watched the hypnosis-themed Lifetime movies Run to Me and My Husband’s Deadly Past back-to-back. Then, as it is wont to do, the Algorithm fed me several more Lifetime movies, and I watched those too. I began to appreciate the formulas that these movies are based around, and how individual writers and directors play with them.
The only problem: There are not enough of these movies with hypnosis in them! So I decided to write one myself. It’s my first ever screenplay. Enjoy.
FADE IN: CHICAGO, ILLINOIS
The Near North Side. CREDITS ROLL as we see nice restaurants, trendy bars, magnet schools, the skyscrapers of the Loop in the distance. Finally, we move down a residential street lined with row houses and the occasional small apartment building. We push in on one of the row houses as–
INT. WILLIAMS HOME - DAY
TARA WILLIAMS (female, eighteen, dark brown hair, reserved), enters the house and goes up the stairs to her room. Rather spare room, for a teenager, with only one item of note other than the bed and dresser: a high-quality KEYBOARD.
Tara drops her bag onto the bed, and sits at the desk. She reaches to the edge of the desk where the keyboard rests, and sets a METRONOME in motion. She plays an R&B tune, with obvious superlative skill. Her lips move, soundlessly: she could sing the words aloud but she does not.
As credits finish, the camera pans across, revealing her mother, JENNIFER WILLIAMS (female, late thirties or early forties, her daughter’s dark hair, business suit), moving into the doorway behind Tara. Jennifer is as quiet as a mouse, but even so, as she leans against the doorjamb Tara hits a PAINFULLY AWKWARD NOTE and shuts off the metronome.
TARA
(sighs in exasperation)
Mom! I almost had the lyrics right!
JENNIFER
That sounded beautiful.
That sounded beautiful.
TARA
You know I can’t play when you watch me.
JENNIFER
I know, honey, but I can’t not watch you. I’m just so proud of you.
TARA
I know you’re proud of me, Mom. I’m proud of me. I just…
She gestures, trying to express a feeling for which there are no words. She’s not sad, exactly, but she is certainly not happy. Jennifer approaches her and puts a hand on her shoulder.
JENNIFER
(quietly)
If you don’t want me to come to your show, I won’t come.
TARA
No, Mom, I want you to be there. But it has to be perfect, you know? Agents might be there.
JENNIFER
I know, honey. It will be perfect. With all you’ve practiced? It will be.
TARA
(unconvinced)
Yeah.
(changing the subject)
Wait, why are you home? I thought you were going to be in the office late today.
JENNIFER
Oh, we closed on the account, so Chad let me go home early. I thought I would meet Mandy for drinks.
TARA
(dryly)
You didn’t need to say “for drinks.” As soon as you said “Mandy,” that was, like, assumed. Annie’s gonna come over.
JENNIFER
Wait a second. Homework?
TARA
A problem set for Calculus. I did half of it during free period, it’ll be easy to finish.
JENNIFER
And you’re okay for dinner?
TARA
We’ll order in and watch a movie.
JENNIFER
All right. I won’t be out too late.
She moves to the door, but she looks back before she leaves.
JENNIFER
And, Tara? It’s already perfect. Every note.
Tara’s smile looks sincere for the first time in the conversation.
TARA
Thanks, Mom.
Jennifer walks out of this scene, and we CUT TO:
INT. NORTH SIDE BAR - EVENING
Happy hour at a trendy Near North bar/restaurant. It’s early enough that the place isn’t too crowded yet. Jennifer is sitting at the bar; we can see in the background, beyond the dining area, that this place has a setup for live music.
MANDY FLORES (similar age as Jennifer, female, most fashionable person in every room) enters. She and Jennifer have clearly been friends for a long, long time. Mandy has platinum blonde hair [[regardless of the race of the actor who plays her]] cut in a spiky style much fancier than Jennifer’s; we’ll find out soon that she owns an upscale salon.
MANDY
Heeeeeeeey girl! Let the party begin!
(to bartender, before Jennifer can even say anything)
I’ll have what she’s having.
BARTENDER
Ginger ale?
MANDY
(to Jennifer)
Wait, what?
(to Bartender)
No, wine!
(to Jennifer, after he leaves)
You said you killed the meeting today! I thought we were celebrating!
JENNIFER
Tara’s still hung up about the show. Every time I try to watch her play, she gets really anxious and sounds so negative about it.
MANDY
Is it about a boy?
JENNIFER
No. I mean, she’s been on a couple of dates, but nothing serious enough to bring this on.
MANDY
Stage fright, you think?
JENNIFER
(shaking her head)
She’s done recitals, played at school dances, and every time she felt great about them…
(looks down at her drink)
…because she knew I wouldn’t be there.
MANDY
Aw, Jen…
JENNIFER
I just want to see her play in front of a crowd, one time! Is that so wrong?
MANDY
Of course not! But she’s eighteen years old, you know? Her emotions are like nitroglycerine. Handle with care, or they could explode. Have you thought about… talking to someone?
JENNIFER
You mean a therapist? Not really. This didn’t strike me as the sort of thing you go to therapy for.
MANDY
(rummaging in her purse)
Well… maybe not the sort of therapist you’re thinking of…
She finds what she is looking for: a BUSINESS CARD proclaiming, “ERIC MORTON: Hypnosis, Neuro-Linguistic Programming, Life Coaching”.
MANDY
This receptionist at my salon has a heart murmur. Her doctor told her, “you have to quit smoking.” But she couldn’t quit. Her doctor said, “if you do not quit you will die before you turn twenty-five.” She was still at a pack a day. But after she saw this hypnotist, she never touched a cigarette again.
JENNIFER
(reading off the card skeptically)
What is “neuro-linguistic programming”?
MANDY
I dunno, probably just another fancy word for hypnosis. Anyway, maybe this is better for her than some other kind of therapy would be.
JENNIFER
(flipping card over and reading the address)
Wait, his office is on my street! On my block!
MANDY
Yeah, that’s why I kept the card! I thought it was like karma or something.
JENNIFER
That’s not how karma works.
MANDY
Whatever. Anyway, don’t call him if it creeps you out, I was just trying to help.
JENNIFER
No, maybe you’re right. I don’t think Tara would do therapy, but maybe she would try this…
We linger on a shot of the business card as we FADE TO:
INT. WILLIAMS HOME - LATER
Tara is flopped on the couch next to ANNIE MILLER (eighteen, female, magenta hair, ripped jeans, punk AF). They look like complete opposites, which is probably why they get along so well. Chinese takeout boxes are on the coffee table, and credits are starting to roll on whatever movie they just finished. Jennifer enters, looks over to the couch as though she already knows they will be there.
TARA
Hey Mom, how’s Mandy?
JENNIFER
(distracted, putting away her purse and keys and such)
She’s great. Hi, Annie.
She’s great. Hi, Annie.
ANNIE
Hi, Jennifer.
Jennifer looks peeved.
JENNIFER
Annie, did an adult ever tell you that it’s weird to call them by their first name?
ANNIE
(mock-sweetly)
Oh, all the time. That’s why I do it.
JENNIFER
(sighs; to Tara)
Homework done?
TARA
Yeah. I finished it during the movie, because that movie was ass.
JENNIFER
Hey, language!
ANNIE
Hey, I picked the movie!
TARA
(exaggerated childishness)
Annie, I’m sorry your movie was a big old stinky-butt.
A couple of awkward beats. Jennifer does not know how to start this conversation, or if she should have it in front of Annie.
JENNIFER
Tara, can I talk to you in the kitchen for a second?
Annie gets up off the couch.
ANNIE
No, don’t worry about it, Jennifer. I need to get home anyway.
(sarcastic)
I’m a menace to the neighborhood, you know.
JENNIFER
Get home safe, Annie.
ANNIE
See you tomorrow, Tara.
Annie exits. After she’s gone:
JENNIFER
I worry about that girl.
TARA
Her mom?
JENNIFER
(nods)
The only way she’s going to get away from that woman is to graduate and go to college. But instead she acts like she wants to flunk out of school.
TARA
Nah. She’ll make it. She’s got me.
Another awkward beat. Jennifer plops onto the couch next to her daughter, clearly making the decision to plunge right in.
JENNIFER
(kind of rambling)
So, Mandy suggested this thing to me – and if you don’t want to do it, we won’t do it – but I thought it might be something that could help –
She takes the business card out of one of her pantsuit pockets, and hands it to Tara, who reads it.
TARA
A hypnotist?
JENNIFER
(still kind of rambling)
Honey, I want to watch you play. But I also want you to feel comfortable with me watching you play. I don’t know if that means you need hypnosis, or not, I just thought, maybe…
TARA
This address is on this street.
JENNIFER
Yeah, Mandy was excited that he lived so close to us. She thought it was fate, or something.
TARA
I mean… this isn’t like you, Mom.
JENNIFER
(nods)
I know. But we both know this is a problem, and if we both just “be like ourselves,” that problem doesn’t go away. So let’s try this instead.
Awareness seems to dawn on Tara – hey, maybe we SHOULD try this – as we FADE TO:
EXT. HIGH SCHOOL CAMPUS - THE NEXT DAY
An upscale downtown magnet school, of the sort where you would say, of course one of its students is going to become a professional musician instead of going to college, it all makes sense. We hear Annie’s first line over the establishing shot.
ANNIE (O.S.)
(extremely skeptical)
Hypnosis?
Tara and Annie are walking across campus, presumably to their next class.
TARA
Yeah, that was my reaction too.
ANNIE
She’s gonna brainwash you into letting her come to your show?
TARA
No, I read some stuff online. It doesn’t work that way.
ANNIE
How does it work?
TARA
We’re just going to… talk to the inner me, I guess. The one who doesn’t want to talk about it.
ANNIE
“We”?
TARA
Yeah, I wanted my mom to be there. Felt too weird to do alone.
Annie stops and touches Tara’s arm, to stop her. Her face changes a little, and for the first time in the movie we’re getting an idea of how she really feels.
ANNIE
Do you want to talk about it? I always thought you didn’t…
TARA
Annie, no, it’s okay. I’ve tried to talk to my mom about it. I just don’t know what to say. It’s like there’s a locked door in my head. Maybe this hypnotist guy can help unlock it.
Beat, as Annie nods sympathetically.
TARA
Look, I’m gonna be late for Chemistry. See you at lunch?
ANNIE
(sarcastic)
Oh yeah. Gotta check on the chemistry with Scott.
TARA
(protesting too much, but not for the reason you think)
Shut up! He’s just my lab partner!
ANNIE
Yeah, okay. See you later.
They go their separate ways, as we CUT TO:
INT. HIGH SCHOOL SCIENCE LAB - MOMENTS LATER
A room filled with lab tables, each one seating two students. Tara slides into her chair next to SCOTT (eighteen, male, neither a jock nor a dork). They acknowledge each other, Scott in a “I’m totally going to ask this girl to prom” sort of way, Tara in a “shut up, he’s just my lab partner” sort of way. The TEACHER (mid-forties, male, boring) begins to speak.
CHEMISTRY TEACHER
So last time we talked about the difference between acids and bases. Today, we’re going to see that difference in action…
As the teacher drones on about using a red cabbage to test the pH of a solution, we focus on the conversation between Scott and Tara.
SCOTT
(whispers)
I just heard back from Northwestern. I got in!
TARA
(as excited as she can be while still whispering)
Congratulations! You said that was your first choice.
SCOTT
(whispering)
Yeah.
(awkwardly realizing he should ask about Tara also)
How about you? Where did you apply?
TARA
(shyly whispering)
I’m actually going to take a gap year. I want to make it as a musician.
The teacher, walking through the class, raises his voice as he passes by.
CHEMISTRY TEACHER
And so, if I can have everyone’s full attention as I pass out these lab sheets…
A pair of lab sheets are SLAPPED on Scott and Tara’s table. After the teacher has moved on, Scott and Tara share a small sort of “whoops, we got busted” giggle. As Tara is looking at her lab sheet, Scott NUDGES A NOTE toward her.
Close-up on the note: it says “YOU’LL BE GREAT!” along with a hastily scrawled musical note. Tara blushes and smiles, and we FADE TO:
EXT. WILLIAMS HOME - A COUPLE OF DAYS LATER
Tara and Jennifer are walking down the sidewalk. He’s not literally next door, but they don’t have to walk far.
The building is a row house, but unlike theirs, it’s one of those row houses which has a basement apartment. Apparently this apartment has been turned into an office, because a sign outside reads ERIC MORTON / Hypnosis and Life Coaching.
JENNIFER
Ready?
TARA
Yeah.
INT. MORTON OUTER OFFICE - CONTINUOUS
There is a front room which appears to be a reception area: a desk with a laptop computer and some chairs. At the desk is ERIC MORTON (late thirties, male, beard, suit and tie, very good at hiding his derangements), typing away. He looks up when Jennifer and Tara enter.
ERIC
Jennifer Williams?
JENNIFER
Yes, and this is my daughter, Tara. You’re Eric Morton?
ERIC
Yes, I am. Just let me finish up this email…
(typing intensely)
…okay.
As he delivers his next line, we cut to a camera angle from behind the desk, looking at Jennifer and Tara in the reception area.
ERIC
Come with me into my office, we’ll talk about how I can help you.
The camera pans across the desk as he stands and accompanies Jennifer and Tara into the inner office. The camera stops on the computer, the screen at an angle where Jennifer and Tara could not have seen it. It has a completely blank screen. It’s not even turned on. There’s still a store-fresh sticker reading “DISPLAY MODEL ONLY” on the screen.
INT. MORTON INNER OFFICE - CONTINUOUS
The office is spare, with not many decorations and boring art on the walls. On one side of the room there is a simple IKEA desk, and a couple of chairs facing it. In the other half of the room there’s a lounge chair and another chair facing it. Eric sits at the desk, as Jennifer and Tara take the desk-facing chairs.
ERIC
So, what do you do, Jennifer?
JENNIFER
I’m in advertising, for a firm in the Loop.
ERIC
And you, Tara?
TARA
(clearly had been expecting her mother to do most of the talking)
I’m… a student? I don’t really have a job.
JENNIFER
Tara’s a musician. Once she turned eighteen, I let her look for paying gigs. Her first professional show is in a few weeks.
ERIC
Wow, a professional at eighteen. That’s very impressive. So what can I help you with?
An awkward beat. Jennifer and Tara each appear to be waiting for the other to talk.
JENNIFER
Tara has played a lot of shows. Recitals, school dances, and so on. She’s been fantastic at all of them. But she doesn’t play well when I’m there, watching her.
ERIC
Really. And how would you describe this, Tara?
TARA
Um… it’s just… when I feel her eyes on me, nothing goes right. I miss notes, I forget lyrics, my timing is all off. These days I ask her not to come in when she hears me practicing.
ERIC
Have you talked about this with your mother?
TARA
I mean, she asks, and I want to talk about it, but… I don’t know what to say.
Another awkward beat.
ERIC
In order to help people, I have to ask them a lot of personal questions. Some of those questions can be… difficult.
JENNIFER
You mean Tara’s father.
Beat, as Tara looks away.
ERIC
Yes, I do.
JENNIFER
My ex-husband left. And when I say, “left,” I mean one day I brought Tara home from kindergarten and he was gone. Didn’t leave a note, and hasn’t sent any notes since. The only reason I knew he was still alive was that he hired a lawyer to represent himself, but I wasn’t able to get any explanations or alimony out of him. I simply divorced an empty chair.
Eric glances over at Tara, who is extremely uncomfortable. She won’t look him in the eye.
ERIC
And how much do you remember about this, Tara?
TARA
(still not looking him in the eye)
Not much. I was too little.
ERIC
But surely it has occurred to you…
Now Tara does look him in the eye.
TARA
Yeah, my dad is gone. And yeah, I probably have some issues about that. But he left before I even knew what a piano was. So why would he cause me to have issues with my mom watching me play today?
ERIC
Well, the mind works in unusual ways. Sometimes, the “issues” we have don’t follow any logic, don’t make sense to anyone but ourselves.
JENNIFER
And that’s where the hypnosis comes in?
ERIC
Yes, exactly. TV and the movies give people a lot of misguided ideas about hypnosis. All it really is, is a way to communicate directly with a person’s unconscious mind.
TARA
So I’ll be … unconscious?
ERIC
No, no. What I think happened is, you made a decision that your mother would be bad for your music. But you didn’t actually sit down and think it. You made an unconscious decision. Under hypnosis, I’ll be able to speak with the part of your unconscious mind which made that decision. But you won’t actually be unconscious.
A couple of beats. Jennifer and Tara don’t seem opposed, but they don’t seem super psyched, either.
ERIC
Perhaps I can show you?
TARA
You mean, hypnotize me? Now?
ERIC
Under your mother’s watchful supervision.
Tara and Jennifer look at each other. Tara shrugs, semi-positive.
JENNIFER
Yeah, okay, let’s do it.
ERIC
All right, Tara, just put your feet flat on the floor and make yourself comfortable in that chair while I get ready.
Eric produces a tablet computer from one of the shelves behind him. He hands it over to Tara.
ERIC
I suspect you’re pretty familiar with one of those.
Close-up on the tablet: an app is open, showing a metronome.
TARA
Yeah, I have a real one.
ERIC
I prefer to use an app, because I can control it a lot more precisely. So in a moment, I’m going to ask you to turn it on, and it’s going to be ticking very fast. I’d like you to use the down button to slow it down, until it’s moving at a pace that represents you, at school, yesterday.
TARA
Represents what?
ERIC
Whatever pace says, “this was how I felt yesterday.”
Tara taps, and a VERY RAPID TICKING fills the room. She slows it down until it’s about 80 beats per minute; clearly faster than a beat per second. Eric comes over to take the tablet.
ERIC
Okay, now I’d like you to close your eyes. Just close your eyes down and picture yourself, at a moment when you felt this way yesterday.
Eric sets the tablet in a cradle on the edge of the desk. During the rest of this scene, we will be cutting between:
Jennifer, watching closely…
…Tara, who is sitting in her chair with her eyes closed…
…and the tablet, where the metronome bar is swinging back and forth just like a real one would.
ERIC
Watch yourself, doing whatever you were doing at this pace yesterday, just like you were watching a video on a website. Now I’d like you to take a deep breath in, and as you let it out, just slow that video down. Imagine you’re watching it at three-quarters speed. All the websites let you do that these days. Just slow that video down.
He reaches over to tap the down button on the app, gradually lowering the pace from 80 beats per minute to 75. Jennifer clocks this and her eyes flick over to the tablet.
ERIC
And as you take another deep breath in, just let that video slow down even more.
Tara’s head is starting to nod, and her eyes are flickering under the closed eyelids…
…Jennifer is watching the tablet closely…
…As the number is now down to 70, the metronome arm swinging noticeably slower.
ERIC
Another deep breath, and the video is almost completely calm and still. It’s so easy to slow that pace down until it’s completely calm and still.
Tara’s head begins to loll to her left…
…Jennifer’s gaze is glassy…
…as the metronome is at 60, the arm swinging slowly back and forth.
Eric’s voice drones on, into a FADE OUT.
INT. MORTON INNER OFFICE - SOME TIME LATER
We cut to an extreme close-up of Jennifer’s eyes: open, fixed and distant.
ERIC (O.S.)
One, two, three, wide awake.
Jennifer closes her eyes, then opens them again, the glassiness gone. We see what she sees: Tara, slumped so far to her left in the chair that if the chair did not have arms, she would have fallen out of it. As we watch, Tara begins to pick herself up, pushing her hair away from her face.
ERIC
That’s right, awake and alert. How are you feeling, Tara?
TARA
(seeming surprised)
Uh … good. Really good! That’s so weird!
ERIC
I know, right?
TARA
I didn’t even think anything was happening, and then you counted to three and I realized I was sitting like that!
ERIC
That’s a really common reaction.
(looks over at Jennifer)
Mom? Everything look good from your end?
Jennifer looks a little nonplussed, but she doesn’t react like anything is wrong.
JENNIFER
If Tara feels good … yeah, everything’s good.
ERIC
All right. Tuesday is good for the first real therapy session?
Tara is enthused. She’s like night and day from how she looked when Eric asked about her father earlier.
TARA
Sure!
JENNIFER
Wait, I won’t be able to make it. I only have so many personal days at work…
ERIC
Don’t worry about it. I record all of my sessions, and I can e-mail the video files to you.
Maybe someone at home is yelling at their screen, “you didn’t record that session just now!” [[Which is the point; I want them to yell that.]] But Jennifer is just a little too out of it to make that connection.
JENNIFER
Okay, sounds good.
(to Tara)
Can you wait outside for a second, honey? It’ll be just a minute.
TARA
(beaming)
Yeah!
She picks up her bag and practically bounds out of the room. When the front door closes, Jennifer looks at Eric frankly.
JENNIFER
What do you think?
ERIC
Because her father left when she was so young, we may need a few sessions to get deep enough for her to explain herself.
JENNIFER
Is there anything I can do?
ERIC
Just stick with your normal routine. She responded very well to the hypnosis, so I think it’s solvable.
JENNIFER
I read online that hypnosis is not covered by most forms of health insurance…
Eric goes to a stack of paper on the shelves behind him, takes one sheet, and hands it to Jennifer as he says:
ERIC
Yes, all hypnotists would prefer if hypnosis were treated like any other kind of therapy, but the insurance companies are way behind the times on that. This is my pricing structure.
JENNIFER
(reading the sheet)
It’s more than I was expecting.
ERIC
(in a tone which suggests he has kids also; he doesn’t)
But they’re worth it, aren’t they?
Jennifer looks as though that phrase just made it all clear.
JENNIFER
Yeah. Yeah, they are. She’ll see you on Tuesday.
CUT TO:
EXT. WILLIAMS HOME - MOMENTS LATER
Jennifer and Tara are walking down the street, and then back into their home. Tara is so full of energy that she’s practically vibrating.
JENNIFER
(referring to Tara’s burst of energy)
Well, that exceeded expectations.
TARA
I know! I’ve never had an experience like that in my life!
JENNIFER
I can tell.
TARA
(looking up)
Everything just seems different now. Even the sky seems different. Look how blue it is!
INT. WILLIAMS HOME - CONTINUOUS
Jennifer and Tara enter their house.
JENNIFER
You know, when he brought up your father, it looked like you wanted to leave.
TARA
Maybe I was a little skeptical. But when I woke up, and I realized how deep down I had been, I just felt like a whole new person.
JENNIFER
A new person who will let me watch her play?
TARA
(this had not even occurred to her)
Uh… not yet, I think. I mean we haven’t even done any real therapy yet. Let me practice alone today, see how it feels.
JENNIFER
(reminding herself that a quick fix was unlikely)
Of course. He said we should just stick to our normal routine. So you hit the keys, Friday night is fish night.
Tara makes a finger-gun at her.
TARA
Gotcha.
As Jennifer heads into the kitchen and Tara heads up the stairs, Tara pulls out her phone. She reads the text, which, as often happens in these movies, pops up on screen:
ANNIE (TEXT MESSAGE)
Gotta get outta here
When Tara speaks, she sounds a lot more serious.
TARA
Mom, Annie is coming over for dinner. Her mom … Annie needs to come over.
JENNIFER
(clearly this has not been the first time)
Of course.
INT. WILLIAMS HOME - EVENING
Jennifer, Tara, and Annie are having dinner. As Jennifer said, it’s fish night - smoked salmon over rice.
ANNIE
This is delicious, Jennifer.
JENNIFER
Thank you.
ANNIE
Where did you learn to cook like this?
TARA
(jumping in)
She was actually really terrible when I was little. We had to change plans and order in a lot.
Annie laughs at this.
JENNIFER
Well, I had to teach myself, after I got divorced.
Annie gets a lot more somber. Jennifer realizes she might have screwed up by saying the word “divorce” and tries to put a positive spin on it.
JENNIFER
But cooking is like your guitar, or Tara’s keyboard, or anything else. You put in enough time and effort, you get good.
ANNIE
(quietly)
Not anything else.
JENNIFER
(gently)
Annie, is there something I can do?
ANNIE
I doubt it. The court gave her custody. And it’s not like she hits me or anything.
TARA
You’re eighteen, you could move out. You could move in with us. I mean, we’re already like sisters.
Annie looks down at her food. Alert viewers might realize that being “like sisters” is not exactly what she wants.
ANNIE
No, my mom knows where you live. You don’t want me bringing that mess here.
Tara is still quite worried. She’s not going to come right out and say something like, the mess is already here. But she’s thinking it.
ANNIE
(snarky, trying to lighten the mood)
Maybe I’ll send my mom to your hypnotist.
TARA
(serious)
Maybe you should. I felt soooo amazing, after–
Tara is cut off by a FORCEFUL KNOCKING AT THE DOOR. In fact the word “pounding” might be appropriate. Annie looks up, anxious.
JENNIFER
You stay right there, Annie. I’ve got it.
Jennifer goes to the door and opens it. There is BROOKE MILLER, Annie’s mother (early forties, dyes her graying hair blonde, sharply dressed, in search of a manager to ask to see). From her attitude, as we have already seen from Jennifer, we know this is not the first time they’ve had this conversation.
JENNIFER
(forced politeness)
Good evening, Brooke.
BROOKE
(harsh)
Is she here?
JENNIFER
Yes, she is. We were just having dinner.
Brooke cocks her head, looking over Jennifer’s shoulder, calling out deeper into the house.
BROOKE
(even harsher)
Ann?!
Annie appears in the frame behind Jennifer, further back in the house. Her body language is awkward and pent up.
ANNIE
(uncharacteristically meek)
Yes, Mom.
Alert viewers might notice the use of “Mom” instead of a first name. Brooke speaks sharply, totally ignoring Jennifer.
BROOKE
(to Annie, harsher still)
My cooking’s not good enough?!
Annie looks down. All of the snark and teenage rebellion that she has displayed in previous scenes has vanished.
BROOKE
(to Annie, still nasty)
Be home by ten. Don’t assault anyone on the walk home.
JENNIFER
(quiet but firm)
I’ll drive her.
Brooke turns her attention to Jennifer.
BROOKE
(to Jennifer)
If you care about your daughter, you’ll be careful while she’s around.
JENNIFER
(still quiet and firm)
I do care about my daughter. That’s why I let Annie come over.
For a second Brooke looks like she’s about to really go off. But then she thinks better of it, turns on her heel, and leaves. Jennifer closes the door behind her. Jennifer and Tara meet at the place where Annie is standing, shaking, and enfold her into a group hug. FADE TO:
EXT. MORTON OFFICE - DAY
Establishing shot, leading into:
INT. MORTON INNER OFFICE - CONTINUOUS
Tara is entering Eric Morton’s inner office. Eric is at the desk, rising to greet her.
ERIC
Tara! Good to see you again.
TARA
Hi, Dr. Morton.
ERIC
Actually, I’m not a doctor in hypnosis. Hypnotist certifications don’t work that way. You can call me Mister Morton, or Eric.
TARA
Uh, okay, Eric.
ERIC
What I’d like you to do is, take a seat over there, in the lounge chair, while I turn on this digital camera to record the session.
Once she is in the chair and the camera is turned on, we get a camera shot from Tara’s POV: the office, some bland art on the walls. Eric’s chair is at such an angle that he is not in the shot. We cut to Eric as soon as he begins speaking.
ERIC
All comfortable?
TARA
Yeah … my feet aren’t on the ground. Feels like I’m floating.
Eric hands her the tablet again, with the familiar metronome app already on the screen.
ERIC
Okay. What I’d like you to do is take this app, which you’ve seen before, and set it to the right pace for your song.
TARA
Which one? I’ve written a few songs…
ERIC
But one of them feels like “your song,” right? The one you practice most often. The song you would close your show with.
Tara considers this, then taps; the TICKING of the metronome fills the room. Tara adjusts until the ticking has slowed down to the pace of the song we heard during the opening credits. Eric sets the tablet on a small end table, next to the lounge chair.
ERIC
Now just lie back and close your eyes. Feel the sound of the metronome on your face. Each tick helping the muscles in your face relax more and more. Imagine the floor is drifting away.
Tara’s eyelids flutter under the closed eyelids, and her head lolls a little to her left, just like the previous trance. Tara and the chair stay in the frame, but everything else in the room FADES TO BLACK.
ERIC (O.S.)
Let the sound of the metronome guide you to your keyboard.
As Eric speaks, the rest of the room FADES INTO:
INT. DREAM HOUSE - CONTINUOUS
The layout is the Williams home, but it’s completely devoid of furniture, except Tara lying in the lounge chair. The ticking of the metronome is in the distant background, Eric’s voice is slightly echo-y and distorted. All colors have faded to grayscale.
ERIC (O.S.)
Let the sounds of the metronome and my voice take you to your keyboard.
Tara opens her eyes. Moving slowly, like a sleepwalker, she gets up out of the chair and walks toward the stairs.
Cut to Tara in the upstairs hallway, approaching her room. As Eric speaks the next line, the camera pans slightly to show Jennifer in the background, standing at the head of the stairs, looking a little sad.
ERIC (O.S.)
Now imagine your mother is there. How does that make you feel?
Tara stops at the word “mother.” She speaks in what I will call a Trance Voice: low, quiet, distant.
TARA
(Trance Voice)
Can’t practice.
ERIC (O.S.)
Describe the feeling.
Camera pans a little more to show a rope, strung between Tara and her mother at the waist, tying them together like a pair of mountain climbers.
TARA
(Trance Voice)
If I play bad, it will hurt her. We’re connected.
ERIC (O.S.)
You’re eighteen. You’re about to have your own life. She knows this. She can let go of that connection. All you have to do is let go.
Dream-Tara turns to face her dream-mother.
TARA
(Trance Voice)
Mom…
ERIC (O.S.)
Free yourself of all inhibitions. Just let go.
The rope, and the dream-mother, VANISH into thin air. FADE TO:
INT. ADVERTISING AGENCY MEETING ROOM - AFTERNOON
Your typical office conference room. Jennifer enters, wearing a pantsuit and an electric blue blouse underneath, setting her phone and laptop on the table. ANGELA (mid-fifties, African-American female, seen it all) is already there, setting up a presentation that will display images from whatever advertising campaign they’re about to talk about.
JENNIFER
Angela, how do you show up first for every single meeting?
ANGELA
(dryly)
I’m psychic.
JENNIFER
(joking)
Will I find true love?
ANGELA
(even more dryly)
Not that psychic.
Jennifer’s phone VIBRATES. She checks it to see a text from Tara:
TARA (TEXT MESSAGE)
Gonna run out to Mandy’s for a haircut
Jennifer taps out a response. Angela looks over.
ANGELA
A little help setting up the presentation?
JENNIFER
Yeah, absolutely. Just gotta text my daughter back…
INT. MANDY’S SALON - CONTINUOUS
A stylish spot in the Gold Coast, Chicago’s wealthiest neighborhood. Everybody rich and famous in Chicago has either had a cut here, or walked by this place on their way to another equally expensive salon. Tara is already sitting in the reception area, in a blue T-shirt and blue jeans, looking at her phone.
JENNIFER (TEXT MESSAGE)
How was the hypnosis?
TARA (TEXT MESSAGE)
Good
Be back late
Gotta paper to write
As she taps out these messages, Mandy enters.
MANDY
Taaaaraaaaa!
TARA
Hey Mandy.
Mandy stops cold, gives her a look.
TARA
Aunt Mandy.
MANDY
There we go!
They hug. As they pull back from the hug, Mandy fusses with Tara’s hair.
MANDY
Time for a new cut already? Usually you wait til it gets longer than this…
TARA
Actually, my show is coming up, and I wanted to try something new.
(leans in conspiratorially)
Like, really new.
Mandy smiles. She’s always down to try new things.
MANDY
I love it!
TARA
I’m not imposing, am I?
MANDY
Come on, you know Aunt Mandy always has time for you! Let’s get you in a chair!
As they exit, we FADE TO:
INT. WILLIAMS HOME - THAT EVENING
Jennifer is at the dining table. Her laptop is open and there are a few papers and notebooks about, so she’s probably working. But she’s not working too hard; there’s a glass of wine nearby as well.
In the background, the door opens, Tara enters, and she races through the entryway and up the stairs in a flash of blue, rushing through her lines as she says,
TARA
Hey mom, gotta put the finishing touches on the paper! G’night!
Jennifer turns in her chair.
JENNIFER
Well, let me see your–
Tara is already gone, her bedroom door closing upstairs. We the audience barely got to see her new ’do; Jennifer didn’t see it at all.
JENNIFER
–hair.
(takes a long drink of wine; speaks to herself)
Teenagers.
CUT TO:
INT. WILLIAMS HOME - NEXT MORNING
Jennifer is moving around in a not-quite-hurry, gathering her things before she heads out to work for the day. She’s wearing a blue pant-suit and a white blouse underneath. She glances out a front window as a familiar MAGENTA-HAIRED FIGURE is on the sidewalk outside.
JENNIFER
(calling upstairs)
Tara? Annie’s here!
The camera is on the floor of the upstairs hallway, as a pair of FANCY-BOOTED FEET walk into frame. We track down the hallway behind the feet as they stop at the top of the stairs. We are looking down at Jennifer, who is at the bottom of the stairs as she says,
JENNIFER
C’mon, honey, I won’t be able to drive you today.
Jennifer looks up at the person at the top of the stairs, who we still can’t fully see. Her mouth falls open.
EXT. WILLIAMS HOME - A COUPLE MINUTES LATER
Annie checks her phone, for the time. She’s not impatient, exactly – she’s not the type who worries about being late to school – but this is clearly an atypical situation for her.
ANNIE
(to herself)
Wow, two minutes late, a new record.
(front door opens)
Well, look who finally…
Annie’s POV as we watch Tara walk down the front steps in slow motion. Tara looks like a completely different woman. She’s wearing boots and a leather skirt; in the movie to date she’s been a jeans and sneakers type. She’s wearing the same electric-blue blouse her mother was wearing in the office scene before; previously she’d been wearing T-shirts and/or flannels.
ANNIE
…woke up?
Tara’s hair is cut in a movie-star bob (previously she favored ponytails), and she’s wearing makeup in a way that just completely transforms her compared to previous scenes in the movie. Now, I want to be clear: she would look completely normal in a bar at happy hour, or at a club on a Friday night. But it’s atypical for her, and it’s atypical for high school.
TARA
What do you think?
ANNIE
(she’s in love)
Wow?
TARA
(noticing the look on Annie’s face for the first time)
What?
ANNIE
Your whole thing, that’s what!
TARA
I wanted to try something new.
ANNIE
No, you wanted to try everything new.
Annie looks back at the Williams home. We see Jennifer standing in the window, looking at them. Jennifer doesn’t look angry, or even upset; she just looks shell-shocked, her mouth still agape. Annie makes a surreptitious hand gesture, as if to say, don’t worry, I got this.
INT. BEDROOM - CONTINUOUS
We are in what is probably a second-story bedroom, looking down through the window at Tara and Annie as they walk past. What little of the room we can see looks fairly dark; what little we can see of the window has security bars on it. There is a man-shaped figure in the foreground.
TARA (O.S.)
You’ve dyed your hair a different color every year since seventh grade. How is this different than that?
You’ve dyed your hair a different color every year since seventh grade. How is this different than that?
ANNIE (O.S.)
You kept your hair the exact same way all those years!
The man-shape reaches down to a nearby end table, for a Moleskine notebook which has written on its cover in all-caps, “TARA”.
The man-shape walks down the hall, writing in the book as he goes. It is waaaaaay too dark in there for a normal house at the start of the day. As he walks past a closed door, we hold on the bottom of that door, to see FLASHING LIGHTS flickering in the room inside.
EXT. SIDEWALK - CONTINUOUS
Two shot, with Tara and Annie doing a walk-and-talk.
TARA
I thought you would support me on this!
ANNIE
Look, I do support you, okay? It’s just that this is a big switch for me. Normally you’re the one who worries too much, and I’m the one trying to get kicked out of school.
TARA
I’m not going to get kicked out of school. I checked the school website for the dress code; I’m fine.
ANNIE
Oh, you’re fiiiiiine, all right.
TARA
What’s that supposed to mean?
ANNIE
You’re about to find out.
EXT. HIGH SCHOOL CAMPUS - DAY
It’s worth saying again: nothing about Tara’s look would be especially out of place in the adult world. But this is a high school, and it is not ready. Heads are turning everywhere as Tara and Annie cross campus. Boys can’t stop staring, and the girls they are with can’t stop getting mad at them for staring.
But here’s the thing: Tara doesn’t seem to notice any of this happening. She’s in the eye of the storm, calm and comfortable. One might even say entranced.
It’s only Annie who feels like she’s in a hurricane. She’s watching out for problems like a hockey goalie, her head on a swivel.
ANNIE
(to Tara)
You’re lucky the weather is good. Last year it snowed in April, you know.
TARA
I know, right?
Annie snaps at a much younger, DORKY KID who is staring too hard.
ANNIE
(to Dorky Kid)
You wish, freshman.
TARA
(oblivious)
Maybe I should have just skipped today.
ANNIE
(to Tara)
Don’t even. If your mom thinks I talked you into skipping, where am I gonna eat dinner?
Annie grabs Tara so that they are not hit by a PASSING SKATEBOARDER. The skater’s head whips around so hard to gawk at Tara, that he loses his balance and bails on his board.
ANNIE
(to Skater, sarcastically)
Nice one, Tony Hawk!
TARA
(still oblivious)
My mom won’t be mad. I mean, these are her clothes.
ANNIE
(to Tara)
Yeah, and she bought them when she was, like, thirty.
A passing DUDEBRO is gawking too close.
ANNIE
(to Dudebro)
Take a picture, it’ll last longer!
The Dudebro takes out his phone, and Annie slaps his hand away.
ANNIE
(to Dudebro)
Don’t actually take the picture! It’s sarcasm! What the hell is wrong with you?!
Annie and Tara reach the same place where they parted ways in the previous campus scene.
ANNIE
Was it the hypnotist? Did he tell you to do this?
TARA
(unconvincing)
No. I told you, I wanted to try something new.
ANNIE
(not buying it, but there’s no time to press the issue)
Okay. Just be careful out there, huh? When you change like this, guys are gonna change, too.
TARA
I’m always careful.
Tara goes her separate way. Annie pauses a moment, concerned, then moves on.
INT. HIGH SCHOOL SCIENCE LAB - MOMENTS LATER
The boring Chemistry teacher is handing out graded papers, in alphabetical order.
CHEMISTRY TEACHER
Miss Upham … Mister Vance …
(tone is way too arch for a teacher-student interaction)
Miss Williams, I see that I’m under-dressed.
It’s kind of a dickish thing to say. Tara looks up at him, and pays him back in kind.
TARA
Well, on a teacher’s salary, what can you do?
Giggles from nearby students. The teacher’s face darkens and he moves on. The camera pans down to Scott, who has a negative look on his face. When Tara speaks to him, she is quiet, but not at a whisper the way she was in their last scene together.
TARA
(quiet)
What?
SCOTT
(whisper)
You don’t think that’s a little much?
TARA
(a little louder)
No, I think before was not enough, and now is the right amount.
SCOTT
(whisper)
The right amount of what? I thought you were a nice girl.
Tara GRABS HIM AND KISSES HIM, hard, on the lips. It’s not her first kiss – as Jennifer said earlier, she’s been on some dates – and frankly she’s pretty good at it. Scott’s eyes go wide. Some nearby kids make exclamations of surprise. After a couple of seconds, Tara lets him go.
TARA
(loud)
Was that nice enough for you?!
CHEMISTRY TEACHER
Miss Williams!
The camera pans up to the teacher, and he is pissed. The look on his face says, you are SO suspended.
INT. JENNIFER’S CAR - DAY
Jennifer got called to the school to pick up her daughter. They’re sitting in the car, in the school parking lot.
JENNIFER
Suspended?!
TARA
(glum)
Mom, they’re blowing this all out of proportion–
JENNIFER
Out of proportion?! You insulted a teacher and sexually harassed a classmate!
TARA
Ohmygod, Mom, it was not harassment! You know how many times I’ve seen a guy do worse than that? At school?!
JENNIFER
Yeah! I do know! It’s a double standard and it sucks! But that is not going to save you if Scott’s mother decides to call a lawyer!
TARA
(looks down, sullen)
This is so unfair. That thing he said to me about being a nice girl? That’s harassment.
JENNIFER
Tara, look at me.
(she does)
You do not understand how much money a protracted legal fight could cost us. But I do. I learned the hard way, from your father.
(Tara looks away again)
I will always support you a hundred percent. I just want to know why.
TARA
Mom, I tried a different look one time, and everybody freaked out. Annie, the teacher, Scott… they were all judging me!
JENNIFER
Was there a reason you wanted to try a different look? Did the hypnotist suggest it?
TARA
(way too defensive)
No, Mom, I just… I’m eighteen! I should be free to do my own thing!
Jennifer gnaws on this, as we FADE TO:
INT. WILLIAMS HOME - AFTERNOON
Jennifer and Tara enter. After the door is closed, Tara folds her arms and looks at her mother.
TARA
(resigned to her fate)
So, am I grounded?
JENNIFER
Yes. You’re suspended until the end of the week, so you’re grounded until the end of the week. No going out except to the grocery store and therapy. Nobody comes over.
TARA
(quietly)
What about Annie?
JENNIFER
(equally quiet)
That’s different, you know that. Go upstairs. Get some practice in.
As Tara heads upstairs, Jennifer just plants her hands on the kitchen island with a what-the-hell-am-I-gonna-do look on her face. Her phone vibrates, and she looks at the text:
ANNIE (TEXT MESSAGE)
Outside.
We pan over to the window; Annie is standing outside, in the sidewalk.
EXT. NEAR NORTH SIDE - AFTERNOON
Annie and Jennifer in a two shot, walking down the sidewalk. They’re just going around the block. Nobody says anything at first, then:
ANNIE
I didn’t want her to know I came over.
JENNIFER
Why not?
ANNIE
Because it’s my fault.
JENNIFER
Annie, no.
ANNIE
She’s been watching out for me all year. Straight and narrow, get good grades, graduate and go to college. And the one time she needed me to watch out for her, I blow it.
JENNIFER
Annie, I’m sure you were watching out for her. But you couldn’t watch her all day, and you can’t beat yourself up over that.
ANNIE
I guess.
JENNIFER
I didn’t say anything to her this morning! I could have, but I just thought, my little girl’s all grown up. If anybody should beat themselves up about this, it’s me.
Annie looks up, a dark gleam in her eye.
ANNIE
If anybody should get beaten up about this, it’s that hypnotist.
JENNIFER
What?
Annie nods her head forward. Jennifer follows her gaze to ERIC MORTON’S OFFICE, across the street. They’ve walked around the block and come back to it.
ANNIE
I asked her if he told her to change how she looks. She said no, but her answer was… not convincing.
JENNIFER
(thoughtfully)
Yeah, I asked her too.
ANNIE
And the answer?
Jennifer shrugs. They look at the office a moment, then look at each other.
ANNIE
You’re good cop, I’m bad cop.
JENNIFER
Got it.
EXT. ERIC MORTON OFFICE - MOMENTS LATER
Jennifer knocks on the front door (there is a buzzer, but she knocks). A few seconds later, Eric Morton opens it.
ERIC
Ms. Williams, it’s a pleasure to–
Eric’s POV: Jennifer in front, Annie looming behind her even though she’s shorter, both of them with their cop faces on.
JENNIFER
We need to have a conversation about my daughter.
FADE TO:
INT. MORTON INNER OFFICE
Eric sits at the desk, Jennifer at one of the chairs. Annie stands near the door, leaning against the wall, arms folded. We join them mid-conversation.
ERIC
I’m sorry to hear that Tara got suspended. I thought yesterday’s session went so well.
I’m sorry to hear that Tara got suspended. I thought yesterday’s session went so well.
JENNIFER
What happened in yesterday’s session?
Eric cocks his head, looking past Jennifer.
ERIC
(to Annie)
Would you like to have a seat, Miss…
ANNIE
(she’s seen one too many cop shows)
Annie. Tara’s my ride or die. And when she starts acting strangely, I get suspicious.
A beat. Jennifer turns around in her seat and gives Annie a look as if to say, You’re at an 11 right now, and I need you to be at a 7. Annie gives a small shrug.
ERIC
Of course. Fortunately, there’s a simple explanation for this. You see, I got the sense that Tara was inhibiting herself, unconsciously holding back every time you tried to watch her play. So I gave her suggestions to remove those inhibitions, and there was an unexpected result. Instead of just being uninhibited with respect to her music, she was completely uninhibited.
JENNIFER
Well, can you … I don’t know, reverse those suggestions?
ERIC
Unfortunately not. I need her to be in the uninhibited state when we start to talk about her father in our next session.
JENNIFER
You haven’t even gotten to that part yet?
ERIC
It’s a deeply rooted issue, going back to when she was six years old. Everyone goes at their own pace.
ANNIE
(a little less, but still the bad cop)
If you’re so sure that ‘simple explanation’ is what happened, why didn’t you prevent it from happening when you hypnotized Tara?
Eric gives her a look. There’s only so much calling out he will tolerate from a person more than half his age.
ERIC
The human mind is unpredictable. You can’t prevent everything. If your mother knew your best friend were in this kind of trouble…
Annie flinches at the word “mother.” Just a little, but enough that Eric clocks it.
ERIC
…could you perfectly predict how she would react?
Jennifer steps into the awkward moment. While she speaks, in the background, Annie begins wandering around the office.
JENNIFER
Well, Mr. Morton, I think you can understand my concern. Overall I think my daughter has adjusted very well to the difficult turns she’s had in life. And now this one time I try to get her some help, all of these new issues seem to be sprouting up.
ERIC
Ms. Williams, I understand completely. Believe me, it’s better that we work on it in this way, now, and not let these unconscious emotions simmer and potentially–
(interrupts himself)
Excuse me, can you not touch that, please?
Cut to Annie, who is leaning in to look at (but not actually touch) the digital camera that we’ve already seen during Tara’s session.
ANNIE
Do you record all your sessions, Mr. Morton?
ERIC
Yes, I do, and it would be highly disruptive to my business if that camera were to be damaged.
Annie steps away.
ANNIE
(mock-sweetly)
Don’t worry, I stopped breaking things by accident when I was eight. These days I just break them on purpose.
A couple of beats. As she does with many adults, Annie is trying to annoy the shit out of Eric. But he seems un-ruffled.
ERIC
Ladies, I do have to prepare for another client in about fifteen minutes. But before you go, I want to make sure that you trust I have Tara’s best interests at heart.
He puts gentle emphasis on the word “trust.” As he does, we close-up on Jennifer’s eyes. They flick to look at Eric’s tie, which is blue in color with no pattern.
ERIC
You do trust that I have Tara’s best interests at heart?
Again the gentle emphasis on the word “trust,” again we cut from Jennifer’s eyes to the tie. But this time the tie is a much brighter shade of blue. Either through special-effect magic or old-fashioned wardrobe magic, it looks like Eric is wearing another patternless tie that is a much brighter shade of blue than in the previous shot.
Jennifer’s eyes flutter a little, and she gives her head a small shake, as if to clear the cobwebs. When she speaks, she sounds normal.
JENNIFER
Yes, well, you’re the professional. Just please kept me updated on all developments.
ERIC
Yes, of course I will do just that. Thank you for stopping by, Miss Williams. Annie…
(beat)
...a pleasure.
CUT TO:
EXT. SIDEWALK - MOMENTS LATER
Two shot, with Annie and Jennifer doing another walk-and-talk on the way back to Jennifer’s home.
ANNIE
What was that?
JENNIFER
What was what?
ANNIE
I set you up back there and you didn’t spike it!
JENNIFER
I don’t know what you’re talking about.
ANNIE
I asked if he records his sessions. Then he says yes, and you’re supposed to ask to see Tara’s recording! I can’t ask for it, I’m not her mom!
JENNIFER
I already knew he records his sessions. He e-mails me the video files.
ANNIE
So what happened in Tara’s session yesterday?
Silence from Jennifer.
ANNIE
Oh my god, Jennifer!
JENNIFER
I had a lot going on today!
ANNIE
You are the worst good cop!
INT. MORTON INNER OFFICE - CONTINUOUS
Eric reaches into his briefcase-bag and pulls out an item we’ve already seen: a Moleskine with the word “TARA” written on the cover.
He begins writing furiously in the book. Extreme closeup on the words: “ANNIE - BEST FRIEND - MOMMY ISSUES”. He underlines those last two words with such force that the pen rips the paper. FADE TO:
INT. TARA’S ROOM - LATER
Tara’s playing a song (different than the one we heard one the opening credits - maybe even a few bars of a recognizable pop song). Behind her, we see Annie arrive in the doorway. Tara soon stops playing.
ANNIE
(joking)
Not bad. Needs more punk rock.
TARA
You here to tell me ‘I told you so’?
ANNIE
(still joking)
‘I told you so’? Me? Never.
TARA
You did, though. You warned me.
ANNIE
(still joking)
My level of genius is not always going to be understood.
TARA
Shut up! I’m trying to apologize here!
As she responds, Annie comes into the room and sits on the bed.
ANNIE
Well, there’s your problem right there. You have nothing to apologize for. Well, okay, they’re probably going to make you apologize to Mr. Manfield, and that’s going to suck. Oh, and you’ll have to apologize to Scott, and that’s going to suuuuuuck.
They both laugh. Tara’s mood improves, for the first time since she got suspended.
ANNIE
But me? You don’t have to apologize to me. We’re good.
TARA
You staying for dinner?
ANNIE
(shrugs)
Might as well. But first, you gotta tell me: kissing Scott. It was terrible, right?
TARA
(laughs, real and genuine)
How did you know?
ANNIE
(knows even more than that)
Sometimes, you just know.
CUT TO:
INT. WILLIAMS HOME - LATER
Jennifer, Tara, and Annie are having dinner. We see them mid-conversation when there is a familiar KNOCKING/POUNDING at the front door.
ANNIE
Oh my god, I’m so sorry–
JENNIFER
(echoing Annie’s earlier demand that Tara not apologize)
Annie, stay there, and do not apologize.
Jennifer goes to the front door and opens it. It’s Brooke, of course, still looking for a manager to ask to see.
JENNIFER
(sounding tired)
Hello, Brooke.
BROOKE
(pissed off)
Is she here?!
JENNIFER
Yes, Brooke, just like every other time you have ever asked me, she is here.
BROOKE
Well, I wouldn’t have to ask if she would call me and tell me–
(yells over Jennifer’s shoulder, into the house)
You need to call me, Ann!
JENNIFER
(bone dry)
I cannot imagine why she would not call you.
BROOKE
Well, I guess I know where she gets her disrespectful streak from.
JENNIFER
(sighs)
Brooke, I’ve had a very long day and I would like to finish my dinner. Is there anything else?
BROOKE
Yes, as a matter of fact, there is. I heard about your daughter’s behavior at school today, and I wanted to let you know that it is completely unacceptable. It’s bad enough that Ann has to spread her whole … agenda all over this neighborhood. But I will not have her alongside your daughter, slutting it up all over the city!
Maybe Jennifer had already had enough, or maybe the word "slut" sets her off. Regardless, Jennifer steps out of the door and onto the porch, pointing her finger angrily.
JENNIFER
Enough, Brooke! Enough!
There is so much sudden, but controlled, fury in her voice that Brooke falls back a step.
JENNIFER
Annie is staying here tonight. And if she wants to stay here tomorrow night and the night after that, I welcome her. Because welcoming her is the bare minimum that you had to do as her mother, and you couldn’t even clear that incredibly low bar!
Brooke sputters and maybe starts to say something, but Jennifer runs right over her.
JENNIFER
Get the hell off of my stoop. Don’t ever come back. Because maybe the law can’t do anything about the way you talk to your daughter, or that bigoted maniac you call a pastor. But if you ever talk about my daughter that way again, there is nothing the law can do to stop me from kicking your bony ass from here to Lake Michigan.
Having said her piece, Jennifer turns and goes back into the house, slamming the door behind her. Brooke stands there, trying to find a way to maintain her dignity, then gives up on it and runs back to her car.
Jennifer goes back to the dining table and sits there, trying to come down off of the anger and adrenaline. After a few quiet moments, Tara breaks the ice.
TARA
Moooom, language!
ANNIE
(mock-sweetly)
Jennifer, thank you so much, but your couch is so uncomfortable.
Jennifer can’t help but laugh. FADE TO:
INT. WILLIAMS HOME - THE NEXT MORNING
Establishing shot: Tara is in her bed, Annie is on the floor, wrapped up in blankets like they’re a makeshift sleeping bag. FADE TO:
Annie is in the bathroom, brushing her teeth. Tara walks into the doorway, still in her sleeping clothes (PJs or sweatpants or yoga pants or whatever is right for her wardrobe).
TARA
How are you doing?
ANNIE
It was weird, being away from my mom. Not bad-weird, but also not good-weird. You need the bathroom?
TARA
(looks down)
No, I’m suspended, I can take my time this morning.
ANNIE
(wincing)
Ugh… with all the drama around my mom, I totally forgot. If you need me here, I can ditch–
TARA
No way. Your grades can’t take it. Remember, getting educated–
ANNIE
(as though she’s heard this a hundred times)
“–is the most punk-rock thing I can do,” got it. What are you gonna do?
TARA
Practice for my show. Oh, and I have an appointment with the hypnotist at three.
ANNIE
Be careful with that guy, huh? Something’s weird about him.
TARA
He’s good for me. Every time he hypnotizes me, I feel better and better.
FADE TO:
BRIEF MONTAGE. Tara is bored like you would not believe. She tries practicing on the keyboard, but we quickly FADE from that into her just laying on her bed or wandering aimlessly up and down the stairs. Finally, we see Tara looking at the clock in her room. It’s barely noon.
TARA
Whatever.
She stands up and heads down the stairs and out the front door.
EXT. MORTON OFFICE - DAY
Establishing shot, leading into:
INT. MORTON OUTER OFFICE - CONTINUOUS
Eric is sitting at the receptionist desk again, when Tara enters.
TARA
Hi, Eric? I know I’m super early…
ERIC
…but you got suspended from school and you have a lot of time on your hands?
TARA
(sheepish)
You heard about that?
ERIC
I did. Come on into the back office, we’ll talk.
INT. MORTON INNER OFFICE - CONTINUOUS
Eric enters, and as he moves behind the desk he gestures to one of the chairs facing it.
ERIC
Let’s hold off on the lounge chair for a minute. I want to talk about last session.
TARA
(as she sits)
Okay.
ERIC
(after he has fully sat)
How did you feel at school yesterday?
Tara hesitates.
ERIC
Everything you say here is in confidence.
TARA
Honestly? I felt great. I’ve never felt so free. When I talked back to that teacher I thought, I should have been doing this for years.
ERIC
You sound like your friend Annie.
TARA
(chuckles)
Oh, you met her, huh?
(chuckles)
Oh, you met her, huh?
ERIC
She and your mother came by yesterday. They were concerned.
TARA
(embarrassed)
Oh my god, I am so sorry.
ERIC
Not at all. It’s a wonderful thing, to have people in your life who care so much. I want to show them that I care that much, but it’s going to take some time to earn their trust.
Gentle emphasis on the word “trust,” and we cut to…
–One-shot of Tara, sitting in the chair. Her eyes begin to blink more…
–One-shot of Tara’s POV, looking at Eric sitting behind his desk. His image begins to blur as her eyes lose focus, but his tie, the same blue tie as yesterday, remains crystal clear…
ERIC
Who do you trust, Tara?
Again the emphasis on “trust,” as we cut to Tara. Her eyes are at half-mast now, and she’s struggling to keep her head up.
TARA
(Trance Voice)
Mom. Annie. You.
Eric’s image is so blurry as to be fully indistinct, but the tie remains bright blue and in perfect HD as we hear his voice.
ERIC (O.S., sort of)
Tell me about Annie.
TARA
(Trance Voice)
My best friend.
ERIC (O.S., sort of)
Why is she so hostile?
TARA
(Trance Voice)
Her mom’s… so mean to her.
ERIC
Thank you, Tara. Do you feel like going to the lounge chair now?
TARA
(Trance Voice)
Too heavy. Can’t move.
ERIC
All right, then sleep–
We are in the one shot of Tara when he says this, and we hear a SNAP OF FINGERS offscreen. Tara slumps forward, bending double at the waist, until she has fallen out of frame. FADE TO BLACK, then FADE IN:
INT. DREAM HOUSE - LATER
Tara is lying sprawled on the floor, as though asleep. Everything around her is dark.
ERIC (O.S.)
Tara, where are you.
Tara yawns and stretches. She sits up, and the rest of the Dream House brightens around her. She’s sitting on the floor of the living room. It’s still eighteen-year-old Tara in the Dream House, but she’s sitting criss-cross-applesauce on the floor and there are some dolls and toys around her. When she speaks, she will have the cadence of a six-year-old, but it will be her eighteen-year-old Trance Voice. [[Avoid the stereotype of Tara speaking in a little-girl voice. That doesn’t happen in every trance, and a good director can make this scene creepy without it.]]
TARA
(Trance Voice)
In my house.
ERIC (O.S.)
What do you see?
Tara looks up. Her mother (twelve years younger, perhaps symbolized by much different hair) is pacing around in the kitchen, yelling into a flip-phone, but we hear no sound from her.
TARA
(Trance Voice)
Mommy. She’s upset.
ERIC (O.S.)
Why is she upset?
TARA
(Trance Voice)
Daddy isn’t here. She’s trying to find him.
ERIC (O.S.)
Why did Daddy leave?
Tara shrugs, exaggerated, like a small child would.
TARA
(Trance Voice)
I dunno.
(Trance Voice)
I dunno.
ERIC (O.S.)
Tara, look at me.
Tara looks into a corner of the room that the camera hasn’t yet shown. Eric is standing there. Like the rest of the Dream House, he’s in grayscale, with the exception of his tie: a bright, brilliant blue. Eric comes forward and crouches, to be eye-to-eye with Tara sitting on the floor. His eyes are the same brilliant blue as his tie.
ERIC
Tara, why did Daddy leave?
A tear streams down Tara’s cheek.
TARA
(Trance Voice)
Because of me.
Something – a musical change, perhaps, or a change in the mien of the actor playing Eric – highlights the horrible turn that Eric makes in this moment.
ERIC
That’s right, Tara. He left because you were bad. And your mother is not forgiving you, is she?
Tara looks over at her mother, yelling into her phone in the kitchen, then back at Eric. More tears are coming.
TARA
(Trance Voice)
No.
ERIC
You mother has never forgiven you, has she?
TARA
(Trance Voice)
No.
ERIC
I forgive you, Tara.
Tara leaps up from the floor of the Dream House and hugs him, hard. We ABRUPTLY CUT TO REALITY; Tara is lying on the floor of Eric Morton’s inner office, eyes closed, hugging herself. Eric is standing over her in a way that looks nothing like forgiving. He looks like he’s observing an insect crawling across his path. He lifts the “TARA” notebook and begins to write in it, as we CUT TO:
INT. MANDY’S SALON - DAY
Jennifer is waiting in the reception area. Mandy enters, and Jennifer walks over to her like she has a purpose.
MANDY
Heeeyyy–
JENNIFER
Why did you not tell me that Tara was here two days ago?
MANDY
(sarcastic)
Good to see you too!
JENNIFER
I don’t have a lot of time, I’m on my lunch hour. Why did you not tell me Tara was here?!
MANDY
I thought you’d find out when she got home!
JENNIFER
We missed each other! I work full-time, and she’s eighteen!
MANDY
Yeah, which means she’s old enough to ask for a haircut by herself! Why are you rolling up in here looking for an argument!?
Jennifer takes a breath, and pulls Mandy aside, speaking more quietly.
JENNIFER
The hypnotist had what he called an “unexpected result.”
MANDY
Uh-oh.
JENNIFER
The makeover was part of it. Tara acted out at school yesterday and got suspended for the rest of the week.
MANDY
No!
JENNIFER
Yeah. I’m not blaming you, I just need to know what happened.
MANDY
Jen, like I said, she’s a big girl, she can make these decisions. I’m just the one who provides the service.
(even quieter)
And while we’re talking about that, I gave that girl a thousand-dollar cut at no cost, and was happy to do it, because I love her like she was my own daughter! You don’t trust me any more?
Jennifer realizes this conversation is getting a little out of hand. She takes a breath.
JENNIFER
No, Mandy, no, of course not. It’s just that this is happening so fast. I never had a problem with Tara, not for all of high school, it was like a miracle. But now all of this at once … it’s a lot.
MANDY
Maybe she’s a late bloomer when it comes to rebellion. So are you gonna fire that hypnotist?
JENNIFER
No, Tara really likes him. She seems to think it’s working for her.
MANDY
(dryly)
And her decision-making is rock solid right now, as she sits at home suspended from school?
JENNIFER
Good point. Actually, there was something … I wanted to…
Something I wanted to ask you about him, was what she was going to say, but at that moment a woman walks past in a powder-blue dress, on her way to get a haircut. Close-up on Jennifer’s eyes as they flutter, and her voice trails off.
MANDY
Jen? Jen!
She SMACKS Jennifer on the arm. Jennifer starts, shaking her head to clear the cobwebs, like we’ve seen her do before.
JENNIFER
Sorry, what was I saying?
MANDY
I asked you if you were gonna fire that hypnotist.
JENNIFER
No, I trust him.
MANDY
Well, okay, if there is something I can do, let me know. Aunt Mandy is here to help.
JENNIFER
(still feeling weird)
Yes, of course, thanks, Mandy. I have to get back to the office.
EXT. HAROLD WASHINGTON PUBLIC LIBRARY - AFTERNOON
A hulking red-brick building, topped with green gargoyle statues, in Chicago’s South Loop. A familiar MAGENTA-HAIRED FIGURE walks into foreground, toward the library.
INT. LIBRARY STACKS - A LITTLE LATER
Annie walks through the stacks, towards a PRIVATE STUDY ROOM. Once inside the room, she drops a book onto the desk inside: THE ART OF HYPNOSIS.
BRIEF MONTAGE: Annie looking at the book, then making notes on her laptop. Annie making a face as she reads something she judges to be particularly wild. Annie stretching kinks out of her neck; this is the most studying she’s ever done. Eventually, Annie’s phone vibrates.
JENNIFER (TEXT MESSAGE)
Where r u
ANNIE (TEXT MESSAGE)
Library
JENNIFER (TEXT MESSAGE)
No, really
Annie makes a face, and takes a picture with her phone.
INT. JENNIFER’S OFFICE - CONTINUOUS
Jennifer has a small office, but it has an incredible view. She’s looking at her phone.
ANNIE (TEXT MESSAGE)
Really!
<picture of the book “The Art of Hypnosis”>
What happened in the session video?
Jennifer winces.
JENNIFER (TEXT MESSAGE)
Sorry, I forgot
ANNIE (TEXT MESSAGE)
Worst good cop!
Jennifer winces even harder.
JENNIFER (TEXT MESSAGE)
I’ll watch it now
Are you staying with us again tonight?
ANNIE (TEXT MESSAGE)
Dunno
Need to go home and deal with my mom
But don’t want to do it today
Jennifer sighs. She knows she did the right thing, but she also knows she’s basically adopted another daughter, and the new one is a handful.
JENNIFER (TEXT MESSAGE)
Wait for us, we’ll back you up
ANNIE (TEXT MESSAGE)
Back me up first - watch the video!!!
!!!!!!!
!
JENNIFER
(aloud, to herself)
All right already!
Close-up on Jennifer’s computer. She flips from her work email client to a new browser window, and opens her legally-distinct-from-Gmail app. She finds a message labeled “Tara’s session - Tuesday” and clicks through to the attached video file. The video is Tara’s first session. Jennifer watches at 3x speed: Tara sets the metronome app, lies back, her eyes quickly flutter closed – and then the video ends.
JENNIFER
What?
She moves the slider to just before the video ends, and plays at normal speed.
ERIC (ON VIDEO)
Each tick helping the muscles in your face relax more and more. Imagine the floor is drifting away.
The video cuts out there. Jennifer is perplexed.
JENNIFER
What the f–
CUT MID-WORD TO:
INT. LIBRARY STACKS - CONTINUOUS
Annie is back to reading the book when her phone vibrates.
JENNIFER (TEXT MESSAGE)
We have a problem
Annie sets her face; she’s ready for a fight. She throws the book and her laptop into her bag and leaves, walking like she has a purpose.
EXT. NEAR NORTH SIDE STREET - EVENING
Annie is walking down the street. There’s an EL train station in the background; we can assume she got back to the Williams home in a hurry.
INT. WILLIAMS HOME - MOMENTS LATER
Annie enters through the front door. The keyboard music can be heard upstairs.
ANNIE
Tara?!
Tara wanders up to the top of the stairs. She doesn’t look as alarmed as Annie’s tone might get her to be.
TARA
Hey, guess what?
ANNIE
What?
TARA
He offered me a job!
Annie is about to say, “who?” But then, she realizes.
ANNIE
The hypnotist?
TARA
Yeah! He’s gonna give me sessions for free, and even pay me a little!
ANNIE
Tara, that guy–
TARA
(coldly)
Let me guess: you don’t like him.
ANNIE
He’s weird!
TARA
He has an unusual job, which you know nothing about.
ANNIE
I’ve been learning! I went to the library–
TARA
(exasperated)
Did you ditch again?! Annie!
ANNIE
I went after school! Now shut up and listen for a second!
Tara falls silent.
ANNIE
He said that you took a suggestion too literally, and that he didn’t expect for it to happen. But every hypnotist knows that’s a thing which can happen! Every book tries to prepare them for it!
TARA
(dryly)
You read every book?
ANNIE
I read enough, okay?
TARA
So what? What are you saying?
ANNIE
At best? He’s terrible at his job. At worst, maybe he’s manipulating you.
TARA
Why would he do that?
ANNIE
I don’t know, why do sickos do anything? Maybe he gets off on it.
TARA
He is not a sicko! He is helping me!
The front door OPENS, and Jennifer enters.
JENNIFER
(perturbed)
What is going on in here? I can hear you two yelling from the street!
TARA
(jumping in fast before Annie can say anything)
The hypnotist offered me a job, and Annie is freaking out again.
ANNIE
I am not freaking–
JENNIFER
Annie! We don’t shout at each other in this house, all right?
Annie rolls her eyes but says nothing.
JENNIFER
(to Tara)
He offered you a job?
TARA
As his office manager. He said he needed someone who was organized, who understood the software better than he did. He’ll give me sessions for free!
ANNIE
(snarky)
Well, that’s suspicious right there.
TARA
(to Annie)
I got this haircut for free. It’s how Aunt Mandy shows that she cares!
ANNIE
That hypnotist is twenty years older than you, and he just met you! It’s not okay for him to care that much!
JENNIFER
(putting her hands up)
Girls, girls, please.
(to Tara)
I have to agree with Annie on this. I’m not sure you should take that job.
Tara looks hurt. She legitimately thought her mother would be happy to hear this.
TARA
Why are you taking her side?
JENNIFER
He told me he was recording your sessions, but the video was way too short. I think he edited something out of it.
TARA
Mom, I already helped him with that. He stores his videos with this crappy cloud software, which cuts the files short! He didn’t even know about it! When I told him, he offered me the job on the spot!
With a good actor in the Tara part, that will sound like a very, very reasonable explanation. Jennifer and Annie both fall silent.
TARA
What happened at school was not his fault. It was my fault. And he’s forgiven me for that.
JENNIFER
(gently)
Honey, it’s not his place to forgive.
TARA
Well, you haven’t forgiven me. Neither of you. You’re trying to hold this over my head, like I’m losing my mind or something. But I feel great! Every time he hypnotizes me, I feel better and better!
Annie clocks this, but she says nothing.
TARA
Mom, he’s not Dad. He’s there for me. This time, you’re the one who’s running away.
She storms upstairs. Annie tries to say something like Tara, come on, you know that’s not true…
ANNIE
Tara–
…but is interrupted by the DOOR SLAM. Annie looks at Jennifer, who is stunned. Maybe even a little horrified. Tara could not have hurt her mother worse if she’d punched her in the face.
ANNIE
She didn’t mean that.
JENNIFER
(hoarse, choked up)
She still said it.
ANNIE
No. I think he said it.
Jennifer looks at her, having lost track of that particular thread amidst the argument.
JENNIFER
What?
ANNIE
I read today about a famous hypnotist, decades ago. He liked to say this mantra to his clients,
(puts on a New Age-ish voice)
“Every day in every way, you’re getting better and better.”
JENNIFER
She said, “Every time he hypnotizes me, I feel better and better.”
ANNIE
That’s the second time she’s said that to me. Not just the same sentiment. Those exact words.
She takes Jennifer by her shoulders and speaks quietly, but urgently.
ANNIE
That hypnotist I read about – he was trying to help his clients. He wanted them to feel better every day. This guy, he only wants Tara to feel better when he hypnotizes her.
JENNIFER
(with dawning awareness)
He wants to make her dependent on him.
ANNIE
(nods)
And it’s working.
For a moment, Jennifer still looks like she wants to start sobbing, because of the horrible thing her daughter said. Then she pulls herself together with visible effort: squeezing her eyes shut, clearing her throat hard.
JENNIFER
I’m going to lock her in her room, if I have to.
ANNIE
No, don’t. Not after the fight we just had. She’ll call the police.
JENNIFER
I should be the one calling the police!
ANNIE
(displaying the natural hostility between punk and cop)
You really think the police are gonna make this better? She’s legally an adult, she can work for him if she wants.
JENNIFER
Then what do we do?
ANNIE
I’ll look him up. If he’s done something shady, anywhere, it’ll be out there. The internet always knows.
JENNIFER
Sounds good, but even that won’t prove that he’s doing anything to Tara now. To prove that …
She makes a decision to go beyond a point of no return. She moves in close to Annie, speaking low and urgent.
JENNIFER
We need to stake out his office tomorrow. All day. You’re ditching school. You didn’t hear me say that.
ANNIE
(dryly)
All that devil music must be damaging my ears. But…
JENNIFER
(stops short in her planning)
What?
ANNIE
I’ve worn the same clothes two days in a row and Tara is not gonna let me sleep up there tonight. Maybe I should go home.
JENNIFER
Annie, it’s your decision. But I can’t deal with this hypnotist and your mom at the same time, and I don’t think you can either. I have an air mattress in the basement somewhere, I’ll bring it up and you can sleep on that.
ANNIE
And my clothes?
JENNIFER
(with a “no problem!” tone)
I’m only a little bit taller than you. We’ll work it out.
EXT. COFFEE SHOP - THE NEXT DAY
A legally-distinct-from-Starbucks on the far side of the block from the Williams home. Annie speaks over the establishing shot.
ANNIE (O.S.)
Jennifer, we have to talk about your fashion sense.
INT. COFFEE SHOP - CONTINUOUS
Annie and Jennifer sit together at a table, nursing a coffee each. Jennifer is sitting at an angle where she can see Morton’s office; Annie, hunched over her laptop, is dressed in Jennifer’s clothes. Which means her whole thing says “Mom”: mom sweater, mom jeans, mom knit cap covering up her magenta hair. She’s displeased.
JENNIFER
It’s not that bad.
ANNIE
(muttering as she types)
This is the least punk I’ve ever been. At least when I wore diapers, I could soil them in protest.
JENNIFER
Not all of us can stay in our punk era forever.
Annie looks up from her computer, mischievous, at the way Jennifer said “our.”
ANNIE
Jennifer. You were punk? You.
Jennifer looks away, smiling with some nostalgia.
JENNIFER
Why do you think I let you hang around, Annie?
Annie smiles bigger, goes back to work.
ANNIE
(while typing furiously)
Do you see anything?
Shot of Jennifer’s POV: the Morton office, through the coffee shop’s plate glass window.
JENNIFER
Nothing yet.
ANNIE
(still typing furiously)
You know, when they find out you had me ditch, both Tara and my mom are gonna kill you.
JENNIFER
(dryly)
I don’t know what you mean. You’re very sick, and so am I.
Annie POPS UP from her computer hunch, beaming.
ANNIE
(bragging)
Sick with the search engine, is what I am! Check this out!
She turns the computer around so Jennifer can see. Close-up on the screen: a legally-distinct-from-Facebook page showing pictures from the “Midwest Hypnosis Convention.” The prominent picture shows two middle-aged women flanking an African-American man, with a ton of casino accoutrement in the background.
JENNIFER
None of those people are him…
ANNIE
He’s tagged in the background.
She points: the name “Eric Morton” hovers over a shape in the photo. It could be anybody.
JENNIFER
I can’t even tell that’s him.
ANNIE
There’s a reason for that. The convention page says it was held in one of the casinos in the suburbs. But I looked it up: none of the casinos in the suburbs have convention space.
JENNIFER
Well, maybe–
ANNIE
You think I’m done? Not even close. “Eric Morton” is a common name, right? The only way I could find his profile was doing an image search on his face. So I did an image search on that picture and found this:
Annie switches windows. It shows the exact same photo (two middle-aged women flanking an African-American man, with a ton of casino accoutrement in the background) dead-center on a completely different website, under the proclamation YOU’LL WIN BIG AT THE SOARING EAGLE!
ANNIE
It’s from a casino on a Native reservation in Montana.
(indicates a different photo)
And this lady, who he supposedly took a hypnosis class from? That picture belongs to an accountant in Spokane. I’ll bet you my guitar that none of those photos are legit.
JENNIFER
But there are so many people tagged in those photos. They all have profiles.
ANNIE
I think he made them all up. Fake friends for himself, fake friends for the fake friends, a fake conference for all these fake people to attend. It’s not hard, if you have enough time and are completely delusional. Here’s how I’d do it…
As Annie explains, their conversation fades into the background. We pan up to see the Morton office, which they are both ignoring while they look at the computer. A BLONDE-HAIRED SHAPE approaches the door.
EXT. MORTON OFFICE - CONTINUOUS
The blonde approaching the front office door is Brooke. She’s wearing a powder-blue sweater. She buzzes to be let in.
INT. MORTON OUTER OFFICE - CONTINUOUS
Tara is at the reception desk. She’s typing away - on her personal laptop, this will matter later - when the buzz comes from outside, and Tara hits a button to open the door.
When Brooke enters, there’s a moment, not even a beat, where Tara looks freaked out. But then she CLOSES HER EYES, AND OPENS THEM AGAIN, a slow-motion blink.
Tara’s POV: the powder blue of Brooke’s sweater pops so hard that she seems to illuminate the entire room. Her face is obscured by its brightness, and when Tara speaks, she will seem not to know who this is.
BROOKE (O.S., sort of)
I’m here for my ten o’clock appointment.
TARA
(Trance Voice)
Welcome.
INT. COFFEE SHOP - A LITTLE LATER
Annie is finishing her explanation.
ANNIE
I’ve heard stories about people making up fake accounts like this, to scam crowdfunding sites.
JENNIFER
What do we do with this? Call the police?
ANNIE
Creating fake profiles, by itself, isn’t illegal.
JENNIFER
Are you kidding me?!
ANNIE
I mean, you do advertising. You’re telling me that you’ve never played with the truth to get a brand’s name out there?
JENNIFER
(blushing)
We never did this!
Frustrated, Jennifer looks away, out the window. A legally-distinct-from-Amazon delivery van is parked there. The logo is a HUGE BLUE ARROW pointing straight up into the air.
JENNIFER
I don’t know, Annie, maybe there really is no evidence.
Close on the big blue arrow. Jennifer’s eyes blink slowly.
JENNIFER
(Trance Voice)
Maybe we should … trust him …
As her eyes get glassy, Annie realizes what is going on.
ANNIE
Jennifer? HEY!
She CLAPS HER HANDS in front of Jennifer’s face, hard. The report is loud enough to draw several looks from nearby coffee shop patrons.
Jennifer starts out of her trance. While Jennifer is blinking her way back to full awareness, an annoyed customer responds to Annie.
ANNOYED PATRON
Do you mind?!
ANNIE
(to Patron; doesn’t miss a beat)
No I don’t, and neither do you.
(to Jennifer)
Are you okay?
JENNIFER
What happened?
ANNIE
No, you tell me. What happened in that first session with Morton?
JENNIFER
Nothing. He hypnotized Tara.
ANNIE
Did he hypnotize you, too?
JENNIFER
(too defensive)
No…
ANNIE
Did you feel, like, zoned out? Groggy?
JENNIFER
(awkward beat, then doubtful)
No?
ANNIE
Okay, he hypnotized you. Come on, back to your place.
JENNIFER
Wait, what about…
(doesn’t want to say anything out loud, gestures with her head toward Morton’s office)
…you know?
ANNIE
If I’m right, the really important evidence is already in your head. Let’s go.
As Jennifer gets up to follow Annie out of the shop, the patron gets Jennifer’s attention.
ANNOYED PATRON
Excuse me?! Your daughter is very rude!
Jennifer opens her mouth to explain, but then realizes every explanation – that’s not her daughter, she’s not in school, there’s an evil hypnotist on the block, etc – would just raise more and more questions that need explaining.
JENNIFER
Shut up.
Jennifer exits. CUT TO:
INT. WILLIAMS HOME - A LITTLE LATER
Jennifer and Annie are on the couch. The TV is off, the shades drawn on the window to make the room a little less bright.
ANNIE
The important thing you need to know: if you feel uncomfortable, you can always tell me so, or resist the hypnosis. The whole reason this guy is a scumbag is, he didn’t tell you that you could do that.
JENNIFER
You know what you’re doing, right?
ANNIE
We’re doing this for Tara. Trust me.
Jennifer looks satisfied.
ANNIE
So what I would like you to do is, close your eyes down…
(Jennifer does)
…and just listen to the sounds around you. You might hear the neighbor’s dog barking, or cars driving by outside, but you can put those sounds aside and just focus on the sound of my voice. In a moment, I’m going to count from three to one, and with each number I’d like you to try to open those eyes. Three.
Jennifer’s eyes open, but almost immediately begin to flutter.
ANNIE
Feeling how heavy those eyes are becoming, and letting them close back down.
(Jennifer’s eyes close)
Two.
(Jennifer’s eyes close)
Two.
Jennifer’s eyelids open to half-mast, and underneath the eyes have rolled up to whites. They close back down without Annie telling her to do it.
ANNIE
Eyes getting heavier and heavier. And one.
Jennifer’s eyebrows twitch, but the eyelids do not open.
ANNIE
That’s right, relaxed and heavy. And now drop–
She snaps her fingers on the word “drop,” and Jennifer’s head starts to flop backward onto the couch cushion as we CUT TO BLACK.
ANNIE
(over the black)
Dropping down into Eric Morton’s office.
FADE IN:
INT. DREAM OFFICE - CONTINUOUS
The camera PANS DOWN, as though it is being dropped into the scene, until we are re-watching that first hypnosis scene in the movie, with Tara and Jennifer in Eric Morton’s office. Tara is slumped dramatically over in her chair, Eric is behind the desk.
Notably, we do not hear the metronome at all, and everything is grayscale like the previous dream scenes. Eric is speaking, but his voice is distant and indistinct, almost like the teacher in the Peanuts cartoons.
On the next cut, a DREAM-ANNIE has appeared, standing right behind Jennifer’s chair with her arms crossed and hips cocked, as though she is actually the one in control of this situation instead of Eric. She’s not in Jennifer’s mom clothes, she’s in a leather jacket over a punk band T-shirt and ripped jeans. Like the rest of the room, she’s in grayscale, except for her BRIGHT MAGENTA HAIR. When she speaks, her voice sounds clear and calm.
ANNIE
How do you feel, Jennifer?
As in the original trance scene, Jennifer’s eyes are open, but they’re glassy and it’s not clear if she’s staring at anything at all.
JENNIFER
(Trance Voice)
Focused.
Insert shot of the thing she’s focused on: the metronome app, ticking silently. Then back to Annie.
ANNIE
What is Eric saying?
Cut to Eric: his lips are moving, but it’s Jennifer’s trance voice that we hear.
JENNIFER (O.S.)
(Trance Voice)
Calm and still and completely empty. Take a deep breath in, and let my voice fill you completely.
Annie makes an “ew” face at “fill you completely.” Then cut back to Dream-Eric speaking with Jennifer’s voice.
JENNIFER (O.S.)
(Trance Voice)
Picture a perfect sky. Clean air, clear and blue. My voice is as safe for you as that clear, clean blue. You can trust that voice, clear and clean and blue.
Shot of Eric leaning in close to Jennifer’s ears. He’s close enough to nibble on her earlobes, but her blank face shows no reaction. The blue of his tie and eyes begins to really pop.
JENNIFER
(Trance Voice, following Eric’s lips)
Trance is trust, and trust is blue. Trance is trust, and trust is blue.
ANNIE
(looking a little alarmed)
Jennifer.
JENNIFER
(Trance Voice)
Trance is trust–
SMASH CUT TO REALITY. Jennifer is fully lying back on the couch, her face pointed up at the ceiling, and she’s murmuring the mantra over and over.
JENNIFER
(Trance Voice)
–and trust is blue. Trance is trust and trust is blue.
ANNIE (O.S.)
(sounding nervous)
Jennifer, I need you to wake up and remember everything.
JENNIFER
(Trance voice)
Trance is trust and trust is–
ANNIE (O.S.)
Jennifer!
Annie’s hands come into frame, CLAPPING HARD as before. Jennifer starts, much harder than before, her head snapping up as she inhales sharply.
ANNIE
Jennifer! Are you okay?
JENNIFER
(finishing the last mantra)
–blue.
FLASHBACK MONTAGE: All of the times that the color blue has been a big thing in the movie while Jennifer was in the scene. Tara looking up at the sky after that first trance. Jennifer zoning out on the blue dress at Mandy’s salon. Jennifer zoning out on the blue delivery truck at the coffee shop. All the times that Jennifer and Tara wore blue clothes since the trance.
JENNIFER
(covering her face with one hand, like she’s having a migraine)
Oh my god.
ANNIE
Jennifer, can you hear me?
JENNIFER
Quiet! My head hurts.
ANNIE
Sorry. I didn’t get to the part of the book where they talked about waking someone up.
Jennifer looks at Annie for the first time since she woke up.
JENNIFER
He programmed us. Like a computer. Every time we see the color blue, we trust him a little more, even if he’s not there.
ANNIE
Both you and Tara?
JENNIFER
Both of us. That’s why I forgot to watch the video so many times. That’s why he sent me edited videos in the first place – he assumed I would trust him so deeply as to never watch them! Now we have to call the police.
ANNIE
And they’re gonna do what? Arrest him for felony preference of the color blue?
JENNIFER
This has to be assault, or something!
ANNIE
(coldly)
If the law doesn’t think that the stuff my mom says to me is abuse, then this isn’t assault.
Jennifer looks away, knowing that Annie is right.
JENNIFER
Dammit.
ANNIE
We need to go get Tara, now. She cannot work in that office another day.
JENNIFER
And risk having another fight with her? Driving her further away? Her calling the police on us?
ANNIE
Yes! I was wrong to tell you to let her go there in the first place! Every day she goes back there, this gets worse.
Reaction shot of Jennifer: she knows that Annie is right.
EXT. WILLIAMS HOME - DAY
Jennifer and Annie are coming down from the stairs and into the sidewalk. Annie’s eyes go wide.
ANNIE
Ohmygod!
She DROPS TO ONE KNEE and starts pretending to re-tie the laces on her shoes. Jennifer gives her a look.
JENNIFER
What are you doing?
ANNIE
(quietly; looking up at Jennifer)
That’s my mom! Leaving his office!
Jennifer looks, and we see her POV: Brooke crossing the street to her car and getting in.
ANNIE
(quietly)
Did she see me?
JENNIFER
(quietly)
I don’t think so.
Close on Brooke, as she gets into her car. Her face is completely blank, she’s totally focused on her car. She wouldn’t have seen a pink elephant on the sidewalk, let alone Annie.
Back to Annie and Jennifer. Jennifer fumbles in her bag, pretending to look for her keys. Annie stays on one knee, a car parked on the curb hiding her perfectly. Brooke’s car ZOOMS PAST.
JENNIFER
(normal tone)
She’s gone.
Annie still doesn’t stand up.
ANNIE
(filled with dread)
This is so bad.
JENNIFER
Why would your mom see a hypnotist? I assume hypnosis is one of the ten million things she thinks is satanic.
ANNIE
I don’t know! But if she was in that office with Tara, who knows what ideas about me are in Tara’s head!
JENNIFER
(offering a hand)
Annie, get up. We’re gonna deal with this.
EXT. MORTON OFFICE - MOMENTS LATER
Jennifer and Annie step off the sidewalk. Jennifer stops Annie.
JENNIFER
Hang back. If I start to zone out, you take over.
ANNIE
(warning her)
The last time someone told me to “take over,” I got arrested.
JENNIFER
Good.
Jennifer approaches the door, and HITS THE BUZZER REPEATEDLY. Instead of someone buzzing her in, the door opens. Eric is standing there.
ERIC
Jennifer! Good to see you.
JENNIFER
It’s Miss Williams, and I’d like to talk to you.
ERIC
Ah, okay, Miss Williams. Come on–
JENNIFER
Outside.
Eric nods, and comes out, closing the door behind him. Jennifer’s POV: we get a VERY BRIEF GLIMPSE of Tara sitting behind the desk in the outer office. She seems not to notice her mother at all, before the door closes.
ERIC
Ah, and Annie also. Nice to see you again. Broken anything lately?
ANNIE
(darkly, as she stares at him)
Thinking about it.
JENNIFER
I want to end my daughter’s therapy. I think we’re going in a different direction.
ERIC
Well, I wouldn’t recommend that. She’s at a really critical juncture right now–
JENNIFER
I’m not asking.
Beat. We can almost see Eric making the calculations.
ERIC
Well, I believe in the eyes of the law, that is her choice. And she thinks the therapy is really beneficial.
ANNIE
(sarcastic)
Gee, I wonder who gave her that idea.
JENNIFER
(to Annie)
Annie, please.
(to Eric)
I’m paying the bills. I think that makes it my choice.
ERIC
Actually, since she started working for me, she got today’s session for free.
JENNIFER
(sarcastic)
That’s convenient.
ERIC
Look, Miss Williams, I want us to have a productive relationship. I think you should trust me.
The gentle emphasis on the word “trust” again. He’s wearing the blue tie again. But this time, nothing happens.
JENNIFER
(quietly, but intense)
That blue thing isn’t going to work any more. And I know about all your fake social media nonsense.
(beat; Eric gives nothing away)
I work in advertising. I know what “the eyes of the law” think about false advertising. Or is it fraud, in this case? Do you want to let a judge decide? Can you afford to let a judge decide?
Eric’s face changes, only a little. But the amount of menace in his voice is much different.
ERIC
I don’t know what you’re referring to. But, if any part of my social media presence were found to be fraudulent, I think you’ll find that some of those fake profiles were created today, on Tara’s computer. It’s always so sad when a deranged patient loses touch with reality.
(throwing Jennifer’s words back at her)
Or is it fraud, in this case? Can you afford to let a judge decide? Because a little birdie has told me that you can’t.
Jennifer has no retort, but she also doesn’t want to back down, so she says nothing. Here Eric speaks so quietly that maybe Annie can’t even hear him.
ERIC
(quietly)
Your daughter has a gift. And I don’t mean her music. Your daughter has a gift for trance. Not one person in a million can open their mind so deeply and let me in so completely. And I think that only an idiot would let that gift go to waste.
Jennifer looks like him as though he has transformed into a giant spider. And perhaps he has.
ERIC (CONT’D)
(quietly)
Now, I would never hurt your daughter. We live on the same street, after all. But she needs what I have to offer. You might even say, she can’t live without it.
The words are not literally a threat, but his tone is.
JENNIFER
(equally quiet)
You’re insane.
ERIC
(indicating Annie with a gesture of his chin)
I suggest that you take your little riot-girl squad over there and get off of my property.
JENNIFER
And if I don’t want to?
ERIC
Then you get to see your daughter testify against you in court. That’ll be fun.
Beat, as Jennifer looks at him. There’s no doubt it’s war, but she doesn’t have any weapons available right now. She turns and walks away, speaking to Annie as she does.
JENNIFER
Let’s go.
Let’s go.
Jennifer keeps walking, but Annie doesn’t move. She’s staring down Eric. Jennifer stops, a few steps away, and turns back to Annie.
JENNIFER
Annie. Now is not the time.
Eric takes a couple of steps toward Annie. He’s noticeably taller than her, and he’s trying to use that in this moment.
ERIC
You’re not on my level, little girl.
You’re not on my level, little girl.
We hold on Annie’s face. She smirks at him.
JENNIFER (O.S.)
(afraid this is going to get ugly)
Annie!
ANNIE
(to Eric)
Check your zipper.
She starts walking backward, up the sidewalk, after Jennifer. She’s staring at Eric the whole way, still smirking at him.
Cut to Jennifer, arriving at her front door. Annie is soon behind her.
JENNIFER
What were you doing? His fly wasn’t open.
ANNIE
No, but he’s checking right now.
JENNIFER
So what if he is?
ANNIE
Felt good, to see him obey my suggestion.
INT. MORTON OUTER OFFICE - CONTINUOUS
Tara is at the desk, typing away. Her face looks blank. Eric enters. He’s looking down at the crotch of his pants as he closes the door behind him – and there is no cool way for a person to check their own fly. You look like an awkward goof every time. When Eric looks up, he is visibly steamed.
INT. WILLIAMS HOME - A LITTLE LATER
Jennifer and Annie are sitting at the kitchen island, discussing what to do.
JENNIFER
Well, Tara has to come back. His office isn’t open all night.
ANNIE
(grim look)
My mom probably said the same thing two nights ago.
JENNIFER
Come on, that’s different.
A couple of beats, as they realize it might not be different.
ANNIE
If you think the law is on your side against my mom, then it’s on his side against us. Tara’s legally an adult, like me.
JENNIFER
But you told me that maybe you should go home and hash it out with your mother. Tara is going to have to do the same, sooner or later.
ANNIE
With him messing around in her head? “Later” is too late.
JENNIFER
If she comes back, can you hypnotize her? Make her see the truth?
ANNIE
Not against her will.
JENNIFER
But he hypnotized me against my will!
ANNIE
It wasn’t against your will. According to the books I read, it’s common for parents to attend a hypnosis session with their kids and go into a trance by accident. You just ended up with a scumbag for a hypnotist.
JENNIFER
(glum)
Lucky us.
A beat, as things look their worst. Then Annie SLAPS the surface of the kitchen island, so hard that Jennifer starts.
ANNIE
Okay! New plan.
JENNIFER
What?
ANNIE
Scorched earth. We collect as much evidence about him being a fake as we can, and we get it out there.
JENNIFER
That might hurt his business, but you heard him. He’ll just blame Tara.
ANNIE
A, he could be bluffing. And B, Tara has only been working there a day, she couldn’t have made all those fake profiles. When she’s on our side, people will figure that out!
JENNIFER
And when does Tara get on our side?
ANNIE
Tara is the first person who sees the evidence! Hypnosis doesn’t change who you are, and she has always been able to sniff out this kind of B.S.
Jennifer still looks skeptical.
ANNIE
(quietly)
I can get through to her. I know it.
JENNIFER
Okay. Collect everything you have. I’ll watch his place, find a moment when Tara is alone.
ANNIE
But he knows that we know he’s a creep. When would he ever leave her alone?
JENNIFER
(getting an idea)
Annie, I think I’m going to let you take over.
Annie smiles.
INT. COFFEE SHOP - LATER THAT AFTERNOON
Jennifer is alone at the same table as before. She’s got a wireless earbud in one ear, and we get an insert shot showing that she is on a phone call with Annie. She does not have a coffee in front of her, but the place seems empty enough that no employees are going to bother her about taking up a table.
JENNIFER
I’m having second thoughts.
INT. WILLIAMS HOME - CONTINUOUS
Annie is in Tara’s room. Although she is normally a shoulder-bag-covered-in-buttons sort of girl, now she is pulling on the straps of an actual backpack, securing it tightly to her shoulders and back. She also has earbuds in; the phone is lying on the bed.
ANNIE
Not very punk-rock of you.
JENNIFER
(on phone)
I told you, my punk era ended a long time ago.
Annie goes to the window and glances down.
ANNIE
Do you know how many times I did this, just so I could sneak out to hang with Tara?
INT. COFFEE SHOP - AFTERNOON
Back to Jennifer, who makes a face.
JENNIFER
I’d prefer not to know.
ANNIE
(on phone)
Our house is two stories taller than yours, and I never fell once.
JENNIFER
There’s a first time for everything.
ANNIE
(on phone)
Just make sure he’s still in his office.
Jennifer’s POV: The Morton office. A man, not Eric, is walking up to the sidewalk, from the first-floor door.
JENNIFER
His three-o-clock is leaving right now. Amazingly, he has at least one client who is not a woman.
INT. WILLIAMS HOME - AFTERNOON
Annie shoves the phone into the back pocket of her jeans.
ANNIE
Okay. Here I go.
Annie THROWS OPEN THE WINDOW.
EXT. WILLIAMS HOME - CONTINUOUS
From the roof looking down: Annie climbs out of the window, STANDS on the windowsill, HOPS up to grab a handhold on the roof ledge, and HAULS her body up until she is lying on the roof.
ANNIE
Told you I wouldn’t fall.
JENNIFER
(on phone)
Don’t get cocky.
INT. MORTON OUTER OFFICE - CONTINUOUS
Tara is sitting at the desk, typing away (as Eric said, she’s on her personal computer). Her face is blank, even as Eric enters.
ERIC
Okay, that’s enough for today, Tara.
TARA
(Trance Voice)
I’m almost at a stopping point.
She types a few more seconds, then stops and lowers her hands into her lap. She looks dazed; between being “in the zone” on whatever she was doing and however many times he’s hypnotized her today, she’s extremely trancey. Eric has to close her laptop himself.
ERIC
That’s what I love about you, Tara. You don’t just do what I say; you improvise.
Tara says nothing.
ERIC
I think it’s time for our next session, Tara.
Tara is not a robot; she’s in a state where she can’t be as critical or logical about what he’s saying as she would normally be. But still, some part of her is able to say:
TARA
(Trance Voice)
I have to go home.
ERIC
(cocking his head, curious)
Why do you say that, Tara?
TARA
(Trance Voice)
Annie’s staying with us. Things are bad with her mom.
ERIC
Don’t worry, Tara. I think everything with your mother and Annie is going to be taken care of.
For us, the audience, his tone certainly is not subtle. If Tara were fully awake, she would pick up on the vague menace in his phrasing. But she is not.
TARA
(Trance Voice)
Okay.
EXT. ROOFTOPS - CONTINUOUS
Annie RUNS across the roof tops. Some are flat and some are slanted, and it’s not an easy run. But, as she said, she’s done it before. The row houses are close enough together that she does not need to be an Olympic athlete to jump from roof to roof.
Annie stops, looks around. All of the houses kind of look the same from here.
ANNIE
I’m on top of his place, right?
INT. COFFEE SHOP - CONTINUOUS
Jennifer’s POV. We can just barely see Annie on top of Eric Morton’s house.
JENNIFER
Yup.
EXT. ROOFTOPS - CONTINUOUS
Annie describes what she sees.
ANNIE
He doesn’t have a rooftop porch, so there’s no door. But he has a skylight.
JENNIFER
(on phone)
Dammit. I thought there would be a door. Maybe you should leave.
ANNIE
(agitated)
No! We’ve come this far, don’t wimp out! New plan: I’ll break his skylight. When he comes up to investigate, You go get Tara.
JENNIFER
(on phone)
But what if he–
ANNIE
Stop thinking he’s some supervillain! He’s just a guy who’s good at one thing. Outside of that thing, he’s a creep who had to invent a bunch of fake friends to feel big!
Stop thinking he’s some supervillain! He’s just a guy who’s good at one thing. Outside of that thing, he’s a creep who had to invent a bunch of fake friends to feel big!
INT. COFFEE SHOP - CONTINUOUS
Jennifer sets her jaw. She has doubts. But this is also her daughter we’re talking about.
JENNIFER
Do it.
As Jennifer says this, a SHAPE moves into the background of the shot. We pan up to see that it’s BROOKE, standing next to Jennifer’s table.
BROOKE
Jennifer. I hope I’m not interrupting a work call.
EXT. ROOFTOPS - CONTINUOUS
Annie takes off her backpack and unzips it. Inside, we see her laptop computer, but that’s not what she’s interested in right now. She removes the other item: the punk’s best friend, a foot-long CROWBAR. Equally capable of beating the crap out of a Nazi, as enabling a little juvenile anarchy.
She was planning to use the crowbar to force open a door, but it will work just as well for this. Annie lifts the crowbar overhead and SWINGS down as hard as she can. LOUD SOUND OF SHATTERING GLASS.
INT. MORTON OUTER OFFICE - CONTINUOUS
Eric has Tara’s upper arm in a come-along grip, but he hasn’t yet pulled her out of the chair. At the crash of the glass, distant but unmistakeable, his head swings upward.
ERIC
(to Tara)
Did you–
Shot of Tara’s face. It’s completely blank. She doesn’t even seem to notice his grip on her arm. The only sound she’ll hear right now is the sound of his voice.
ERIC
(small smile)
No, of course you didn’t. That’s why you’re so special. Tara, I need you to stay right here, okay?
TARA
(Trance Voice)
Okay.
EXT. ROOFTOPS - CONTINUOUS
Annie looks up, in the direction of the coffee shop.
ANNIE
Okay, Jennifer, is he leaving the office?
Annie’s POV: we can’t really see inside the coffee shop from here, too much sunlight reflecting on the window glass. But she was expecting to see Jennifer walking down the sidewalk, and that ain’t happening.
ANNIE
Jennifer!
JENNIFER
(on phone)
Uh, no, you’re not interrupting anything, Brooke.
ANNIE
(with dread)
What? My mom is there?
INT. COFFEE SHOP - CONTINUOUS
Jennifer slowly takes the earbud out, cutting off Annie mid-yell.
ANNIE
(on phone)
Jennifer he has to be using her–
In the same motion, Jennifer touches the “end call” button on her phone, so that Brooke will not see who she was talking to. Then, Jennifer gives Brooke a sardonic look.
JENNIFER
Are you here to sling more insults at my daughter?
BROOKE
(lowers her eyes)
I miss Ann. And after two days, I realized… you might have made some reasonable points the other night.
(lowers her eyes)
I miss Ann. And after two days, I realized… you might have made some reasonable points the other night.
Jennifer glances out the window, then back at Brooke.
BROOKE
Are you sure I’m not keeping you from anything?
JENNIFER
(she isn’t even lying)
Brooke, I just, I don’t know what to say. I was really angry the other night and frankly a lot of that anger hasn’t gone away.
BROOKE
If I buy you a coffee, will you listen?
The whole “I don’t know what to say” move was Jennifer’s best shot at ending this conversation gracefully. She doesn’t have a backup plan and she’s afraid of making another scene, this time in public.
JENNIFER
(sighs)
Fine.
EXT. ROOFTOPS - CONTINUOUS
Annie is doing that weird yelling-at-thin-air-because-I’m-on-an-urgent-call thing.
ANNIE
Jennifer! Jennifer!
Jennifer! Jennifer!
She takes her phone out of her pocket; we already know that she’s seeing the connection has been broken.
ANNIE
(if you’re allowed to say this word on Lifetime)
Shit!
Annie’s POV: down into the skylight. Compared to the brightly sunny roof it looks like a black hole.
ANNIE
(psyching herself up)
Just a creep with a bunch of fake friends.
INT. MORTON HOME - CONTINUOUS
Annie DROPS DOWN from the hole in the skylight. Because we know she has a ton of experience running around rooftops, we can assume that she doesn’t hurt herself jumping down from heights like that.
Annie looks around, crowbar cocked. She’s in a hallway. The only light is from the skylight, which means it’s way too dark in here. Close on a window in the back of the house: it’s painted over with black or some other dark color. It only allows in tiny slivers of light around the edges of the paint job, or else we wouldn’t even know it’s a window.
Annie looks over the railing. It’s dark and quiet downstairs. No evidence that Eric came in yet.
Annie moves up to the nearest door and flings it open. No light at all inside. It’s far enough away from the skylight that the light above does not help.
Annie fumbles for her phone and TURNS ON THE FLASHLIGHT – and immediately jumps as the light falls on a WOMAN, sitting in a chair, her chin on her chest. Annie runs to her.
ANNIE
(frantic, thinking this person is in trance)
Ohmygod I’ll wake you up I’ll wake you up–
She puts a hand on the woman’s shoulder, and the woman’s body falls out of the chair and onto the floor with a HEAVY THUMP. Dead weight.
Annie was a juvenile delinquent. She’s been arrested. She’s seen some shit – but she hasn’t ever seen a dead body. She moves away, eyes bulging, her mouth pressed into the elbow of her crowbar arm to keep from releasing firebell screams.
In the glow of the flashlight, we can see details of the woman’s body. Needle marks pockmarking one arm. Bare feet covered with burn welts. Her face, drawn well past “scrawny” and into “emaciated,” eyes wide and empty. The only good news is, it’s not Tara.
Annie turns to leave – and sees a SPIRAL DEVICE on the wall, angled so that the woman in the chair would have been looking straight at it. It’s turned off, so the spiral is not moving, but Annie knows what it’s for in any case.
ANNIE
(whispering to herself)
Oh my god.
Eric’s voice rings out from downstairs.
ERIC (O.S.)
Hello, Annie.
Annie starts, and hides the brightness of her phone flashlight.
Cut to Eric, standing in on the other side of his front door, a floor below where we know Annie is. It’s pretty dark in the living room, but these windows aren’t painted over – the shades are just drawn. So there’s just enough light that he is shown in silhouette.
ERIC
I assume it’s you, Annie. Jennifer doesn’t have the stomach for breaking and entering. Soon she’s not going to have much stomach left at all.
Shot of Annie, thinking fast. She doesn’t want to fight this psycho in the dark, so the downstairs is out. Thus she gets into a crouch and sneaks DOWN THE HALL, towards the master bedroom. The master bedroom door is ajar. Annie slowly pushes through it.
Back to Eric, who is moving slowly through the house, making sure Annie isn’t hiding anywhere. He’s using his phone flashlight also.
ERIC
I was going to clean up my mess before I brought Tara up here. But you know how it goes. Work, work, work.
Eric is now at the foot of the stairs. He peers into the kitchen, but the back door has several heavy locks on it. She can’t get out that way.
ERIC
Or maybe you don’t know how it goes. After all, you’re just a poor little rich girl trying to pass herself off as a gutter punk. You don’t know anything about having a life’s work.
The master bedroom is like the living room downstairs: very dark but not quite fully dark, because the windows just have black shades fully drawn, instead of being painted over. Annie, trying to make no noise, approaches the window and pushes the shade back. There are bars, such that even if she broke the glass she could not get out. So she creeps up to the nightstand; she’s probably hoping that he’s one of those guys who keeps a gun in there.
Back to Eric, who starts slowly climbing the stairs, looking all around with his light. He’s taking his time because he feels sure that she has nowhere to go. Close on his non-flashlight hand; he uses his thumb to flick open a nasty-looking FOLDING KNIFE.
ERIC
That’s what you’ve seen up there. My life’s work. Drugs, isolation, light machines… I’ve tried everything I could to create the perfect hypnotic trance. And then Tara just falls into my lap by sheer dumb luck. The world is funny that way.
Annie’s POV: the nightstand is full of Moleskine notebooks. Each one has a woman’s name in all-caps on the cover. They’re alphabetically organized: “AMANDA.” “BRITNEY.” “BRITTANY.” “CHLOE.”
So many notebooks.
Annie takes one and opens it in the light of her phone flashlight. It’s filled with dense, small-text scrawl; a madman’s manifesto. Some words and phases jump out: “SUBMISSION.” “MALNUTRITION.” “SLAVE PROTOCOL.” She flips to the final non-empty page. It ends with the phrase “SUBJECT TERMINATED.”
ANNIE
(whispers)
Oh, no.
Back to Eric. He’s standing in the doorway of the bathroom, in the back of the house, peering in with his light but also checking behind himself to make sure Annie does not sneak past him. As his monologue continues, he moves forward to check the room with the woman’s corpse.
ERIC
Annie, I admire your bluntness, so I’m going to be blunt with you. You’re never going to leave this house again. But, you don’t have to be an experiment.
(shining his light on the emaciated corpse)
You’ve seen how that goes. So if you come on out now, I’ll claim self defense. I encountered a burglar and feared for my life. It’ll be quick.
He looks at the master bedroom door, sitting ajar. In the light of his phone we can see him smile.
Now he starts moving fast. In a few strides he is at the door, reaching a hand out to push it wide open.
In that moment as the door is opening, Annie issues a SAVAGE YELL and FLINGS HER BODY INTO THE DOOR from the other side, like she is flinging her body at another person in a mosh pit. The door SLAMS into Eric’s head, and we hear the CRUNCH as his nose breaks. He staggers backward into the hallway, and FALLS HARD onto his back.
He’s hurt, but Annie’s eyes are on the real prize: Tara. She RUNS PAST HIM down the hallway, to the stairs. He FLAILS, trying to grab her leg. But he might have a concussion, or an even worse head injury, and his flail is ineffective.
EXT. MORTON OFFICE - MOMENTS LATER
Annie BURSTS through the front door and runs down the porch stairs. Soon she is POUNDING on the office door, hitting the BUZZER repeatedly. Finally the door buzzes back and she gets in.
INT. MORTON OUTER OFFICE - CONTINUOUS
Tara is still at the desk, face completely blank. Annie runs up to her.
ANNIE
(frantic)
Tara! We’re going. Get your stuff. Or forget your stuff, just go.
TARA
(Trance Voice)
Annie?
ANNIE
(realizing she has to slow down, but also can’t slow down because of the adrenaline)
Yes, Tara, it’s me. It’s Annie. We have to go. We are in danger. Eric Morton is a very dangerous man.
TARA
(Trance Voice)
Every time he hypnotizes me, I feel better and better.
Annie gathers herself; she thinks she might only have one more chance here. She unzips her hoodie and takes it off, revealing the ELECTRIC BLUE BLOUSE that Tara wore to school on the day she got suspended.
ANNIE
Tara, do you trust me?
Tara’s POV: Annie’s face is almost obscured by the BRIGHT BLUE BLOUSE.
TARA
(Trance Voice)
Trust…
ANNIE
Who the hell is this guy, Tara? You’ve known him a week. You’ve known me for years, and you trust me. Right?
TARA
(unclear whether she is agreeing, or repeating the word because she’s in trance)
Right.
ANNIE
Tara, how did I know the kiss with Scott was terrible?
Hypnotized people don’t take sudden changes of subject well. Tara furrows her brow.
TARA
Scott?
ANNIE
How did I know, Tara?
FLASHBACK: Tara and Annie in Tara’s room.
TARA
(flashback)
How did you know?
ANNIE
(flashback)
Sometimes–
CUT BACK TO THE PRESENT. Tara seems to be realizing something.
TARA
(Trance Voice)
Sometimes, you just know.
ANNIE
That’s right, Tara. I just know you. I just know what Morton said to you. He told you that your father left because of you, didn’t he?
Tara’s face abruptly crumples. Much like Eric did with the same topic, Annie has pierced right through to the heart of her. Suddenly she’s near tears.
TARA
(Trance Voice)
How–
ANNIE
Tara, what do you think my mother has been saying to me all these years? Don’t you understand? He is trying to control you the same way she tries to control me. And you know how horrible she is, don’t you?
TARA
(completely at war with herself; clearly no longer believes what she is saying)
Every time he–
ANNIE
Why did I sleep on the floor that first night, Tara?
FLASHBACK: Annie on the floor wrapped in blankets and Tara is in the bed. There’s plenty of room in the bed.
TARA
(confused, hazy)
I don’t know what you’re–
ANNIE
(near tears herself)
I slept on the floor because I couldn’t bear to be in your bed if you were going to treat it like we were sisters.
TARA
(realizing)
Annie?
ANNIE
Tara, I just know you. I know that when I came out to my mom, and you saw how she treated me, you decided to hide. You didn’t do it on purpose. You made an unconscious decision. But I’m speaking to your unconscious right now, and I’m saying you don’t have to hide any more. We are the same, and that is why I love you.
The tears are flowing freely for Tara now, but she is not sobbing. She says nothing.
ANNIE
Tara? I love you! Say something!
Tara grabs Annie – a mirror image of her grabbing Scott in Chemistry class – and KISSES HER HARD. This is a much better kiss than with Scott. Is it the steamiest kiss in Lifetime history? It’s in the conversation.
Behind them, the office door SLAMS OPEN, and Eric is standing there. He’s a mess. The lower half of his face is bloody from his broken nose. He’s unsteady on his feet due to his head injury. He’s angry to the point of being completely out of his fucking skull. Or maybe he was out of his fucking skull this whole time.
He looks at Tara and Annie, still holding each other as they look at him. His face darkens even further, if that were possible.
ERIC
I hope you understand what you’re making me do here, Annie. You’ve got the Mona Lisa of trance in your arms and you are forcing me to destroy it!
Annie stands up, putting herself between Tara and Eric. Close on the crowbar in her hand.
ANNIE
Why don’t you create some more fake friends to cry about it?
Eric SCREAMS WITH RAGE and staggers forward, leading with the knife. Annie swings the crowbar like a baseball bat, HITTING HIS KNIFE HAND and SENDING THE KNIFE FLYING. Another CRUNCH signals that she has broken more bones: either his hand, his wrist, or both.
Eric YELLS in pain and rage, but his momentum keeps bringing him forward, causing him to COLLIDE with Annie. He CLAMPS his good hand onto her neck, DRIVING her back into the wall, trying to STRANGLE HER.
ERIC
I told you, you weren’t on my level!
Tara ATTACKS FROM BEHIND, screaming incoherently, trying to pound on his head with her fists. Tara’s still groggy, though, and doesn’t have Annie’s scrapping experience. She’s not doing enough damage, and Eric can even use his bad arm to SHOVE HER AWAY.
However, the distraction has bought Annie enough time, and she DRIVES HER KNEE INTO HIS CROTCH. “Hypnotist” is not a job that requires one to wear a cup. Eric GASPS AND MOANS in that bizarre way guys do when they take a hard shot down low, and releases her neck as he staggers backward.
ANNIE
And I told you to check your zipper!
Eric is grabbing his wounded privates; his face is unprotected. Annie swings the crowbar with all she’s got. ANOTHER HORRIBLE CRUNCH as more bone breaks. Eric goes down like a sack of mail.
Annie goes to Tara, who’s getting up after taking a rough fall.
ANNIE
We have to go! I think Jennifer is in trouble.
We have to go! I think Jennifer is in trouble.
EXT. MORTON OFFICE - MOMENTS LATER
Tara and Annie run onto the sidewalk, and look up the street. A CROWD OF POLICE CARS AND AMBULANCES is starting to gather around the coffee shop.
ANNIE
Oh, no.
TARA
Mom?!
They SPRINT up the street. As they get closer, they see a person in a stretcher, being loaded into an ambulance by paramedics. It looks urgent.
TARA
Mom! Mom!
Out of the crowd of onlookers, Jennifer suddenly emerges.
JENNIFER
Tara!
They embrace, but it’s brief. Jennifer has bad news to give.
ANNIE
What happened?!
What happened?!
JENNIFER
(to Annie)
Honey, I’m so sorry. Your mother tried to poison me… tried to poison both of us. I think he programmed her to try to cover his tracks.
TARA
Are you okay?!
FLASHBACK: Jennifer and Brooke sitting at the table. Brooke is talking, and sipping her coffee as she does; Jennifer is sitting with her arms folded. The whole flashback is silent; the words coming out of Brooke’s mouth, even if they were an apology, do not matter. Eventually Brooke’s face contorts in pain, as she collapses from her chair, and Jennifer goes to assist her.
Back to the present.
JENNIFER
I wasn’t going to drink anything she put in front of me, hypnotist or no hypnotist.
I wasn’t going to drink anything she put in front of me, hypnotist or no hypnotist.
Annie looks scared and confused, but then a police officer walks past, and she snaps out of it.
ANNIE
Officer! Officer! We need some help over here! Yes, you! Move your ass!
FADE TO BLACK, then CUT TO:
A TV broadcast, of a legally-distinct-from-TMZ gossip show with two hosts lounging on a couch and watching internet videos.
GOSSIP HOST #1
Yo, check out this security footage, this is crazy!
We watch black-and-white security camera footage, showing Brooke in the coffee shop. Host #1 tells us what we are seeing.
GOSSIP HOST #1
This lady asks to see the manager, and when the barista turns away she puts drain cleaner in both cups!
GOSSIP HOST #2
Oh-em-gee, a Killer Coffee Karen?!
CHANNEL CHANGE. Now we have a legally-distinct-from-CNN news broadcast. The chyron at the bottom reads “‘COFFEE KAREN’ SAYS HYPNOTIST CONTROLLED HER”.
NEWS ANCHOR #1
New developments in the case of the woman the Internet is calling the “Killer Coffee Karen.” She says her hypnotist did it!
CHANNEL CHANGE. A legally-distinct-from-Rachel-Maddow is covering the case for a legally-distinct-from-MSNBC.
NEWS ANCHOR #2
Police say Eric Morton is a person of interest in the so-called Killer Coffee Karen case–
CHANNEL CHANGE, to a legally-distinct-from-Fox-News show called “Justice With Janice.” Looking slightly drunk, the host says to camera:
JANICE
Is the Killer Coffee Hypnotist in league with Satan?!
CUT TO:
INT. NORTH SIDE BAR - EVENING
“Justice with Janice” was playing on one of the bar TVs, but the bartender turns it off just after we cut to this location. The camera pans over the bar, over the restaurant seating, to the live entertainment area, as a voice comes over the speakers.
P.A. VOICE
Please welcome tonight’s entertainment: Tara Williams.
Polite applause. Tara is on stage with her keyboard; behind her, Annie is sitting on a stool with her guitar. Tara plays the song we heard during the opening credits, Annie is backing her up, and this time we get the lyrics.
Shot of Jennifer and Mandy at a table. Jennifer’s eyes are shining.
MANDY
(quietly)
She’s gotten so good!
JENNIFER
(smiling, a little choked up)
She was always this good.
She was always this good.
LOTS OF APPLAUSE as the song ends. Tara killed it.
Cut to somewhat later, after the show. Tara and Annie arrive at the table where Jennifer and Mandy are. Both older women rise from their seats and applaud.
JENNIFER
Honey, you were amazing!
TARA
Thanks, Mom.
ANNIE
Wait, only she was amazing?
JENNIFER
(dryly)
Well, I don't know, you weren’t very punk up there.
ANNIE
I was backing up someone I love. And I happen to think that’s the most punk-rock thing you can do.
JENNIFER
(she knows what’s coming up, but wants to hear Annie say it)
“Someone you love.”
Annie gets more serious, clears her throat.
ANNIE
Ah, well, prom is coming up, you know, and I was hoping that I could get your blessing in asking your daughter to attend as my date… Ms. Williams.
JENNIFER
(joking)
You’re gonna take her to the prom dressed like that?
Annie is wearing a black pantsuit with a button of the anarchy symbol on her lapel, over a T-shirt from the legendary Chicago punk band Rise Against. She lifts her chin a little, mock-insolent.
ANNIE
Yeah.
JENNIFER
(joking)
Well, in that case…
(serious)
I would be honored.
A beat, before Mandy breaks in.
MANDY
Annie, I love your hair! Where did you get that color done?
ANNIE
Did it myself.
MANDY
(impressed)
Really? Think you could do that for other people?
ANNIE
I don’t know. It’s not very punk to work for someone else. But the hospital is sending all of my mom’s bills to me.
MANDY
Girl, let’s talk.
As Mandy starts talking business with Annie, Tara turns to her mother.
TARA
Mom, can we talk? Like, outside?
JENNIFER
Sure, honey.
EXT. NORTH SIDE BAR - MOMENTS LATER
It’s a beautiful spring evening. The two women need no coats.
TARA
Mom, about me and Annie … did you know? Even before the hypnotist thing, I mean.
JENNIFER
I suspected. You’ve brought home some very cute boys and didn’t seem too excited about any of them. I wondered if I should ask the hypnotist to talk to you about it.
(sarcastic)
I’m sure that would’ve gone well.
TARA
(doesn’t want to think about it)
Yeah.
(changes the subject to what she really wants to say)
Mom, you’ve been telling me for years that it wasn’t my fault Dad left. And most of me knows that is true. But there is some small part of me that is always going to think it was my fault. Morton found that part, and weaponized it. Turned it against us.
Beat, as Jennifer says nothing.
TARA
I guess I’m saying, I may always have scars from this. The same way I’ll always have scars from Dad.
JENNIFER
Tara, do you love her?
Shot of Annie, through the window, talking to Mandy.
TARA
I love her with parts of myself that I did not even know existed, until all of this happened.
JENNIFER
Well, love is what we use to hypnotize ourselves. If the trance is deep enough, we can make a beautiful moment where we forget our scars completely. Let her take you there.
Well, love is what we use to hypnotize ourselves. If the trance is deep enough, we can make a beautiful moment where we forget our scars completely. Let her take you there.
They hug, and we FADE TO BLACK.
THE END
If you or someone you know is having the sort of problems that Annie had, there are people who can help. The American Psychological Association’s Respect Workshop is one place to start, as is The Trevor Project.