Tracie Spencer lies down on the couch in her boyfriend’s home, staring at a jar, He maintains a clean space — suits organized by color, ceramic vases on a shelf and a luxury car in the garage.
In the backyard, she sits on top of him on the lounge chair, touching his bald head.
With her mind, she moves the jar. It slides across the table and breaks.
She dances on the porch a mirror splitting her image at least seven ways.
She gets up from the couch. The television rolls up as she walks up to it, playing a video of her boyfriend. She flicks her fingers and the television explodes. She blows some air towards the air, causing his clothes to burst into flames.
In the garage, she points her finger to a tire and it deflates. The glass in the windows shatters. She heads to shelf and with her trigger finger, points to the vases. After shooting them, she puts her fingers to her lips.
The mirror disintegrates. Smoke clouds fill the home.
Tracie Spencer confronts her boyfriend, telling him that their relationship is one-sided. Then, she decides to destroy the things he values: the suits for the job he prioritizes over her, staying late and taking calls when they are supposed to be spending time together, the vases he bought while traveling overseas back when he wasn’t tied down, the luxury car he babies, saying it can’t get any extra miles on it.
With her supernatural powers, she pulverizes the objects she has become to resent. She has had the powers since she was young but has chosen to use them only when there’s a reason. She believes her self-involved boyfriend needs to be taught a lesson. He may call her, wanting to go out since his objects are no longer there. She knows she won’t even listen to the voicemail.
Director: Francis Lawrence Year: 1999
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