SYZYGY - 8

INT. KARA’S CAR - NIGHT

Tom is driving. He and Kara are both laughing. They are already well into the desert, which passes by starkly in the full moonlight.

TOM

Seriously?

KARA

Of course! It kicked ass!

TOM

Lost In Space, huh? I was always

partial to Hawaii Five-O.

KARA

Really? Why’s that?

TOM

Well, my older brother always told

me that the next week we’d find out

if the guys in the kayak got away

from the tidal wave.

Kara laughs uproariously.

TOM

I kept falling for it. It was import-

ant. I needed to know! That and the

original Alvin and the Chipmunks

theme. Those were the two best.

KARA

(singing)

“This… is… the… Alvin show, the Alvin

show…”

TOM & KARA

“You’re positively gonna love the

Alvin show…”

They both break up laughing.

TOM

Why didn’t we ever talk like this in

high school?

KARA

I don’t know. Because we were in

high school, I guess. We didn’t

understand the value of TV theme

songs.

TOM

Yeah, but seriously… Raven and I don’t

talk like this, even now.

KARA

Well, I’m not Raven.

TOM

(smiling)

No, you’re not. You’re definitely not.

But we haven’t talked this much since

that one night…

KARA

I know. That guy broke up with me.

I don’t even remember what his name

was anymore. And I was crying, and

you came up and just started talking

to me. I remember I kind of poured

my heart out to you.

TOM

(fondly)

Kind of.

KARA

But you listened. You really listened.

Back then I always felt like I spent

more time dealing with other people’s

problems than my own.

TOM

I know. I could see that.

KARA

I never thanked you for that. You…

you kind of had a crush on me back

then, didn’t you?

TOM

Yeah. I did. Most definitely.

KARA

You could have just asked me out.

TOM

I could have. But didn’t. I guess

I figured the wanting would be better

than the having.

KARA

What does that mean?

TOM

Well, I think I was really in love

with you. Not some adolescent prom

night fantasy, maybe if it was I

could have done something about it.

But I had you built up in my mind

as some kind of goddess, everything

I thought a woman could be. I thought

about reading to you, sitting under

trees with you, or fixing candlelight

dinners, anything. Everything you

wanted.

KARA

Good thing you didn’t. I don’t think

I could have lived up to your expect-

ations.

TOM

The ache of not being with you was

better than anyone could ever have

been. Then again, maybe you could have.

He turns to her, but she looks away, embarrassed.

TOM

I get the feeling tonight that maybe

you really are closer to the way I

dreamed.

She doesn’t respond.

TOM

Even after college, it got worse. I

always half-believed that one day I’d

look up from my books and you’d be

standing there. And then tonight,

you finally were.

KARA

So you did what you always dreamed

about doing.

TOM

Yeah. With Raven the way she is now,

I can’t help but feel that I’m waiting

and waiting for something that will

never happen. I lot of the time I

don’t even feel like she’s there. But

it’s just to stop loving someone like

that, and when I think about it I

guess I feel weak for not having the

patience for her to come back…

KARA

Well, I’ve very recently stopped

loving someone. It wasn’t so hard.

TOM

Sorry. I guess I’ve just been talking

about myself.

KARA

It’s okay. You’re entitled. I’m just

glad you’re were there. And that

you’re here now. It makes things a

little easier.

She puts her hand on his arm, and he suddenly seems uncomfortable.

KARA

I wish that just once Jake would

have done any of those things you

always dreamed about.

INT. JAKE’S HOUSE - MORNING

Jake, fully dressed, carrying a mug of coffee, wanders from room to room, staring at the phones. He checks his watch, which reads eight-thirty, and looks out the window nervously. He passes the stairs to the basement, looks down them, checks his watch again.

INT. JAKE’S BASEMENT

The basement has been outfitted as a workshop. Benches and racks of tools line the walls. He reaches underneath one of the larger tables, removes a pistol that was held there by electrical tape. He heads back to the stairs, stops, and looks back.

In the corner, under another workbench, are two aluminum briefcases. He removes them and opens one. Nestled in foam beds inside are four detonators attached to blocks of what must be plastic explosive.

The doorbells rings upstairs. He looks up, startled.

INT. JAKE’S HOUSE - MORNING

As Jake walks into his foyer toward the front door, he glances out the front window. In his driveway, he can clearly see two police cruisers. He grabs a throw pillow off a chair and holds it over his face.

JAKE

(muffled through pillow)

FUCK!!!!

In an instant he is back in control, and opens the door, his face a mask of concerned surprise. He opens the door on three policemen and a plainclothes detective, DETECTIVE MANTLE.

MANTLE

Good morning, Mr. Brennan. I’m

Detective Mantle. I’m sorry to disturb

you so early.

JAKE

It’s all right… I was still in bed.

MANTLE

Sleep in your clothes, did you?

Jake has forgotten that he’s dressed.

JAKE

Yes. Have you heard anything about

Kara?

MANTLE

Well, that’s why we’re here, Mr.

Brennan. May we come in?

JAKE

Certainly.

INT. LIVING ROOM - MORNING

The policemen sit on the couch, with Jake and Mantle sit facing each other across the coffee table.

MANTLE

Normally missing person reports

can’t be filed for twenty-four

hours, but we found something

interesting this morning that we

think might pertain to this case.

JAKE

And what was that?

Mantle begins fishing around in his pockets for a rumpled piece of paper, which he begins unfolding and flattening.

MANTLE

Just after one o’clock this morning,

in a hotel just outside of town, a

man was murdered.

JAKE

A man? Do you think he had something

to do with Kara?

MANTLE

We’re not exactly sure. But we were

hoping you could tell us. The named

signed in the guest book for the room

in which the murder occurred… is yours.

Jake freezes. Mantle slides the paper across the table to him. It shows a photocopy of a fax on which, underneath the motel’s letterhead and logo, room 18 clearly shows Raven’s handwriting: Mr. & Mrs. Jake Brennan. Jake knows exactly who wrote it, but manages to conceal his anger.

JAKE

No, it’s not Kara’s writing.

MANTLE

Didn’t think so. The report from the

desk clerk is that a Caucasian male

and a Native American woman, regist-

ered the previous morning. Neither

of which match the description of

your wife, obviously.

Jake looks at the motel’s address, which includes the words “off Highway 46”.

JAKE

Detective, may I keep this?

MANTLE

Sure. Just a copy. We’re having the

place’s phone records checked too.

We should have the results within

the hour. I thought it best that we

have some of the men here wait with

you, in case whoever has her happens

to call.

Jake sneaks a glance at his watch, which is getting dangerously close to nine o’clock.

JAKE

(calmly)

Of course.

MANTLE

And since we’re so close to the state

line, the federal agencies are on

standby, just in case we find Kara

has been taken over. In that case,

the FBI would immediately become

involved.

Mantle’s words are becoming more and more drowned out by a buzzing sound, coming from inside Jake’s head. He’s trying his best to ignore it, but his temples are starting to sweat and the tips of his fingers are twitching.

JAKE

Can I offer… you and your men… some

coffee?

MANTLE

Thank you. That’d be fine. We really

appreciate your cooperation, Mr. Brennan.

Jefferson, would you help Mr. Brennan,

please?

One of the policemen nods, and stands as Jake does.

JAKE

I’ll show you. The kitchen is right

back here.

INT. KITCHEN - MORNING

Jake, with Jefferson following, moves through the kitchen around the island to the coffee machine. Jake spins on his heel, puts his hand on the back of Jefferson’s head, and punches him in the face. He then grabs the slumping body and gently lowers it to the ground. He drags the body behind the island so it can’t be seen from the doorway, and heads for the basement stairs. As soon as he’s gone, another policeman peeks in.

POLICEMAN

Mr. Brennan? Steve?

INT. STAIRWAY - MORNING

Jake sneaks back up the basement stairs, opens the side door at the top of the landing that leads into the garage.

INT. KITCHEN - MORNING

The policeman doesn’t see Jefferson’s body lying behind the counter, but notices that the basement door is ajar. The other two policemen enter the kitchen, and he motions for them to be quiet. He slowly opens the basement door, drawing his gun. The stairs are empty, and the outer door is closed, but the basement light is on. He starts descending the stairs.

EXT. DRIVEWAY - MORNING

The garage door opens and as soon as it’s open far enough, Jake’s car, in neutral, glides down toward the street. He has to ride up on the grass to avoid the squad cars.

INT. LIVING ROOM - MORNING

Detective Mantle doesn’t see Jake’s car rolling silently across the lawn behind him.

INT. BASEMENT

The policeman looks into the workroom, sees one of the aluminum suitcases lying open on the bench. One of the detonators has a display that switches from 00:00:03 to 00:00:02. He turns and starts running up the stairs in a blind panic.

POLICEMAN

DETECTIVE!!!!

EXT. STREET - MORNING

An explosion nearly pushes the house off its foundation, sending flames shooting out all the windows.

INT. JAKE’S CAR - MORNING

Jake tilts his rear-view mirror to watch the fireball behind him. He body shudders, and the buzzing sound returns. A terrifying half-grin spreads across his face.

JAKE

Beautiful…

He turns on the radio, winces as clear music comes out. He quickly changes the station dial to static, cranks the volume, and smiles.

SYZYGY - 7

INT. MOTEL ROOM 18 - NIGHT

Eyeball is still sitting on the bed. Raven comes out of the bathroom, throws her bag down next to him, and checks her gun as she heads for the door.

RAVEN

Stay here. I have some phone calls

to make. Want anything while I’m

out?

Eyeball shakes his head.

RAVEN

What did you have to eat before we

got to the bar tonight?

EYEBALL

Just a few drinks. I thought I would

need them.

RAVEN

I’ll get you something. I don’t want

you running on nothing but booze.

I’ll be right back.

She winks humorlessly and points her finger at him like a gun. Her thumb comes forward and she “fires”. She blows on her finger as she exits. The door swings closed, but doesn’t quite shut. Eyeball raises his hands to his face, notices they’re shaking. He stares at them as if they’re not his own. After several seconds he reaches for the phone, dialing quickly.

EYEBALL

(into phone, more and more agitated)

Big Ed? Thank God… you’ve gotta help

me! No, we’re at her motel! Her husband

ran off with Kara before Jake could

even get there! I don’t know, how

the fuck should I know? You calm down!

You’re the one who wanted a big show-

down! I hear the other line, that’s

probably her! What am I supposed to

do? Fine! Fine! I’ll just play along.

Okay!

(slams down the phone)

Asshole!

In frustration, he punches the pillows he’s been lying on. When he calms down, he takes a second, pulls out his gun and leans back against the headboard, leveling the muzzle at the door, taking deep breaths to steady himself.

EXT. HOTEL LOBBY - PHONE BOOTH - NIGHT

Raven is talking calmly into the phone.

RAVEN
(into phone)

Yeah, it’s sort of bad news. My

husband took off with her. Oh, just

fine, how am I supposed to feel? Yeah,

well, me too. I don’t know where he

thinks he’s going. You might want to

have Jake file a missing person’s

report as soon as possible, make it

look good. Who, The Eyeball Kid? He’s

fine. I honestly don’t think he has

much of a future in this, though.

INT. ROOM 18 - NIGHT

Eyeball is still watching the door, which is still ajar, gun poised. His eye, the gun, and the door all form an EXACT LINE. A few seconds pass.

EYEBALL

Come on… come on…

There is a soft knock at the door.

EYEBALL

(voice cracking)

Yeah?

The door swings open. Eyeball closes his eyes and turns his head away slightly.

MALE VOICE

(off-screen)

Room ser—

Eyeball fires. The room service man’s tray flips up in front of him, spilling tuna sandwiches and coffee down the front of his shirt. He stands absolutely still for a moment, long enough for us to see the hole in the tray. Then he falls backward, out onto the sidewalk. Seconds later, Raven comes running up.

RAVEN

What the hell did you do?

EYEBALL

Uh… uh… shot him.

RAVEN

Why??

EYEBALL
He just barged in and…

RAVEN

I told you I’d get you something.

Dammit! So you shot him?

EYEBALL

(starting to babble)

I, uh… just got off the phone with

Big Ed.

Raven steps back onto the sidewalk, to make sure that no one has seen.

RAVEN

You did? I just called him from the

pay phone in the lobby!

Eyeball says nothing, just stares at the TV, where someone has just won fabulous prizes.

RAVEN

I called him from the pay phone so

that there would be no record. Now

the police are gonna check the

records… goddammit, do you realize

how complicated you’re making this?

You don’t call your boss from the

hotel phone!

(shakes her head)

That’s it.

Raven grabs the room service man’s feet and drags him inside. She immediately grabs the ice bucket next to the TV. While Eyeball continues to stare at the body on the floor, she fills the bucket with hot water from the tap. She steps over the body and flings it out onto the sidewalk, washing more of the blood from the sidewalk and into the gutter.

RAVEN

If we do this right, no one will find

him for a few hours. That’ll give us time.

EYEBALL

(quietly)

You signed the guest book.

RAVEN

What?

EYEBALL

When you and Tom checked in. They’ll

know.

RAVEN

I didn’t use my real name. You don’t

think I’d be that stupid, do you?

Raven grabs Eyeball’s arm and hauls him to his feet.

RAVEN

Come on. We’re leaving.

Eyeball can’t seem to do anything but stare at the man on the floor. Raven grabs his jaw and makes him look into her eyes.

RAVEN

Hey hey hey. Don’t go vegetable on

me here. Don’t look at him. You can’t

help him now.

Eyeball starts to cry.

EYEBALL

I didn’t mean to do it…

RAVEN

I know, I know. But we’ve got to

leave. Right now. Go on out to the

car, all right?

She hands him the keys.

RAVEN

Here. Go and wait for me. This’ll just

take a minute.

Eyeball takes them and staggers outside. Raven stands over the body, puts her hands on her hips, and sighs.

EXT. MOTEL PARKING LOT - NIGHT

Eyeball gets in the passenger side of Raven’s car and puts the keys in the ignition. He sits back, puts his seat belt on. Then he breaks down. His face drops into his hands and he begins sobbing and hiccuping uncontrollably. In the confines of the car, the noise is very close and claustrophobic.

We can see into the room as Raven drags the body into the bathroom, hangs the Do Not Disturb sign on the door, and comes out, carrying her bag. She gets into the driver’s seat after throwing her bag in the back.

For a moment she just sits and listens to Eyeball cry and hiccup, and then she draws her gun. Without a glimmer of expression on her face, she holds it to his forehead. His hiccups stop immediately.

RAVEN

Thank you.

She puts the gun away, turns on the ignition.

INT. RAVEN’S CAR - NIGHT

As Raven drives, the two sit in silence. Eyeball just stares out the window, watching the night go by. The landscape is getting more and more barren as they head into the desert.

EYEBALL

(softly)

I’m sorry.

RAVEN

It happens. Try to get some sleep.

Eyeball can’t believe that she’s so calm.

EYEBALL

I just killed somebody!

RAVEN
Welcome to the present, Kid.

EYEBALL

But I’m no killer.

RAVEN

Well, that guy back there certainly

thinks so.

EYEBALL

No. I mean I’ve never…

RAVEN

…never done it before.

EYEBALL

(crying again)

No… I can’t do this.

RAVEN

What do you mean? Can’t do what?

Eyeball throws back his head.

EYEBALL

(sobbing)

I’m just a reporter. I’m undercover

to investigate the Organization.

But now I can’t get out. I thought

you were going to kill me! Or Big

Ed was…

RAVEN

Look, I know you’re upset. Believe

me. But I can’t stop now. Not for

anything. You follow me?

Eyeball nods.

RAVEN

Now, should I worry about you trying

to take me out again?

EYEBALL

No.

RAVEN

Okay. I believe you. And anyway I’ve

got your gun. We can talk about your

choice of careers later. For now,

just consider me your new boss.

Eyeball nods again, and a long pause follows.

EYEBALL

Raven?

RAVEN

Yeah?

EYEBALL

Why am I not dead yet?

RAVEN

Because you don’t seem like much of

a threat to me. Besides… you kind

of remind me of someone.

EYEBALL

Who?

Raven doesn’t answer.

SYZYGY - 6

INT. RESTAURANT

EYEBALL

So where did she go?

RAVEN

Probably the bathroom. Quit looking

over there. You’re going to attract

attention.

EYEBALL

All right, so what’s the plan?

RAVEN

We have the bartender page her, tell

her that her lights are on, and when

she comes outside we take her to the

irrigation ditch on the edge of the

parking lot.

EYEBALL

Isn’t that kind of out in the open?

Won’t someone see us? I thought we

were going to drive her somewhere.

RAVEN

In a case like this, speed it more

important than set-up. Besides, even

if anyone sees something, they won’t

act on it until we’re long gone. I’ve

seen it happen.

INT. WOMEN’S RESTROOM

Kara is leaning against one of the sinks, getting her Walkman out of her bag and hooking it up.

KARA

Why are you in here?

TOM

I’m sorry, but I can’t leave you

alone right now.

As she puts the headphones on, Tom moves over to the door and opens it a crack.

INT. RESTROOM HALL

Tom’s eye is pressed to the crack. He can only a slice of the dining area at the far end of the hall. Suddenly, Eyeball comes around the corner and Tom shuts the door. Eyeball stares at the door for a second, then goes into the men’s room.

INT. MEN’S ROOM

Eyeball enters, looking around. There’s no one there.

EYEBALL

Tom? Raven said you might not be

feeling too—

He ducks down to check for feet under the stalls. Nothing. He dashes out.

INT. WOMEN’S ROOM

Tom stares at himself in the mirror while Kara listen to the tape. She presses the headphones to her ears, bent over, softly crying. Tom walks over to her, puts his hand on her should. She looks up at him, tears running down her face.

TOM

Come on. We’ve got to get out of

here…

KARA

Who… who is she?

TOM

Just come on. There’s no time. She’s

going to figure out where we went.

KARA

(panicking)

She’s here?

TOM

Come on! We’ve got to go!

He starts dragging her toward the door, and she staggers behind him, trying to gather up her purse and Walkman.

INT. RESTROOM HALL

Tom and Kara come out of the women’s room and duck through the Employees Only door. The instant it closes, Raven and Eyeball come around the corner. Raven heads straight for the women’s room.

INT. WOMEN’S ROOM

The door flies open, and Raven swoops in. She checks everywhere. Eyeball doesn’t enter, just stands on the threshold, holding the door open. Raven looks at the mirror, sees her own reflection cut in half by a crack in the glass. She turns back to Eyeball, runs out into the hall and through the Employees Only door.

INT. KITCHEN

As Tom and Kara duck back out the rear exit, Raven and Eyeball enter. A COOK, a large man who Tom and Kara must have brushed past, is annoyed by another interruption.

COOK

All right, everybody out of my

kitchen!

Raven strolls right up him, that hard look never leaving her eyes. She looks at the rear exit, then the swinging doors that lead into the dining area.

RAVEN

Which way did they go?

COOK

Look, Missy, you just better get

yourself out of here right now.

RAVEN

I don’t think you want a broken nose.

COOK

And just how are you gonna do that?

Raven holds up her middle finger.

COOK

Oh, that’s cute. Now why don’t you—

Like a whip, Raven’s arm extends to its full length, gripping the man’s nose between her index and middle fingers. She pulls him down to her, twisting slightly. The cook yelps. Then Raven’s other hand raises, and she prepares to flick his nose. Under this much pressure, it will break if she does.

RAVEN

Now, here’s what’s going to happen.

I’m going to let you go. Then, instead

of being an asshole, you’re going to

answer my question. Sound good?

The cook nods, as much as he is able.

EXT. PARKING LOT - NIGHT

Tom is driving as he and Kara they peal out across the white gravel parking lot. Raven and Eyeball step out of the back door, and Raven immediately draws her gun. She fires four times at the car, but the shots only spark off the back bumper.

RAVEN

Dammit.

INT. KARA’S CAR - NIGHT

Kara ducks instinctively as Tom watches Raven in the rear-view mirror.

KARA

Oh God… she’s shooting…

EXT. PARKING LOT - NIGHT

The white gravel creates a smoke-screen behind the car as it tears out of the parking lot and heads out of town, toward the highway overpass.

RAVEN

Come on.

EYEBALL

Wait… wait. We’re not going after

them, are we?

RAVEN

You bet. I need her. You have a

better idea?

EYEBALL

(looking around)

Well… shouldn’t we… uh…

RAVEN

I hope you’re getting paid by the

hour, Kid. Let’s go.

INT. KARA’S CAR - NIGHT

Kara turns around has they drive under the highway.

KARA

Is she coming after us? Oh Jesus…

EXT. KARA’S CAR - NIGHT

Tom wheels hard to the left as soon as they’re out from under the overpass. Kara’s car skids up the grassy slope on the far side of the overpass. Halfway up, he stops the car and turns off the lights.

INT. KARA’S CAR - NIGHT

KARA

What the hell are you doing? Go! Go!

Tom grabs her and pulls her to him. She resists for a second, then stops as Raven’s car roars out from under the highway.

They watch as Raven’s car drives past their hiding place into the open country. The car slows a bit, then starts swerving wildly, sweeping its headlights across the wheat field on either side of the road.

KARA

(whispering)

What’s she doing?

TOM

Looking for our tracks. She thinks

we’ve pulled off into one of the

fields.

Kara stares after her in dread.

KARA

She really wants to kill me…

TOM

Yeah. But I’m not going to let her.

Tom shifts the car into drive and slowly drifts up the hill, around the guardrail and onto the rural highway. He speeds out of sight, not turning on his lights.

EXT. LAMPLIGHTER INN - NIGHT

From out of distance, a car approaches and pulls into the parking lot at a reckless speed. It skids to a halt. Jake jumps out, jamming a gun into his waistband. He dashes back and forth, looking for his wife’s car, but can’t find it.

JAKE

What the hell…?

INT. MOTEL ROOM 18 - NIGHT

Eyeball sits on the bed of Raven and Tom’s hotel room, staring blankly at the TV while Raven digs around, throwing things into her bag. Eyeball checks his watch, then pulls a gun out from his jacket and turns it over carefully, examining it and the silencer screwed into the barrel.

RAVEN

Nice piece, but you better put it

away.

EYEBALL

Why?

RAVEN

This kill is mine.

EYEBALL

Before we go, let’s give Big Ed a call.

RAVEN

All right. But that’s not going to

change what I’m here to do. There’s

no way I’m going to stop until she’s

taken care of.

Eyeball grudgingly puts his gun back in his pocket.

RAVEN

Good. Now hold on to this.

She tosses him a small calculator-like device. A glowing LED readout changes from 46.3 to 46.4.

EYEBALL

What is it?

RAVEN

How far behind we are.

EYEBALL

You bugged her car?

RAVEN

That’s right. That’s why we came

back. Tom left it here.

EYEBALL

So you think he planned this?

RAVEN

I don’t know. Maybe.

EYEBALL

(checking the tracker)

Wait, it’s stopped. Forty-six point

six.

INT. GARAGE - NIGHT

Kara stares at Tom across a table in the grimy waiting room of a mechanic’s garage. She’s pacing back and forth, as if in a cage. He just stares at the floor.

KARA

Do you feel strange?

TOM

Why do you ask?

KARA

Because I do. Wired, kind of. I can’t

really decide how I should feel.

TOM

It’s like everything feels more… real.

KARA

Yeah. It’s not good, but… I don’t know.

TOM

It won’t last.

KARA

Somewhere between high school and

now, Tom, our lives got seriously

screwed up.

He doesn’t seem to be listening. She looks out into the garage through a plate glass window. A MECHANIC is out there, looking at the car’s undercarriage while it’s up on the jack. When she turns back, Tom is leaning forward, his face in his hands.

TOM

We don’t have time for this. Why did

I do this?

KARA

(a little offended)

Well, I don’t know. Could it be that

I was about to get a bullet through

my head?

TOM

That never stopped me before.

Kara is stunned by this, then shakes her head.

KARA

I don’t even want to know.

The mechanic, a greasy, tired man, comes into the waiting area. Tom stands, anxious.

TOM

Did you get it?

MECHANIC

Sir, I don’t even know what I’m

looking for.

TOM

(sitting back down)

You didn’t get it…

MECHANIC

I’m sure that whatever you think is

under there—

TOM

I know it’s there.

MECHANIC

Well, I can’t find it. You can wait

until the day mechanic comes in. He’s

my boss. I’m just not trained for

this sort of thing.

TOM

When does he come in?

MECHANIC

Seven.

TOM

We have to wait six hours before

you can take a little box out of—

MECHANIC

Sir, I don’t see any little box.

You tried to show me and you couldn’t

find it either.

TOM

That doesn’t mean it’s not there!

Look, take it down. We can’t wait.

The mechanic shrugs and leaves. Kara watches Tom intently.

KARA

You’re really scared of her, aren’t

you?

TOM

No more than I should be.

SYZYGY - 5

EXT. LAMPLIGHTER BAR & GRILL PARKING LOT - NIGHT

The Lamplighter, a cheery little place with a flickering neon gaslight and a parking lot of white gravel, sits next to a rural highway overpass. It is the only building across the street from a strip mall on the very edge of town. On the other side of the highway is nothing but wheat fields.

Raven’s car, a dark rental sedan, pulls into the lot and backs into a spot near the street. Tom and Raven get out of the car. They slowly start walking around the parking lot, checking license plates.

TOM

What are we looking for again?

RAVEN

I’ll remember when I see it. Just

let me think.

TOM

Are you sure we should be doing this?

RAVEN

Fine time to be having second thoughts.

I thought you were into this.

TOM

That was different. Those guys were

bastards. The world was better off

for losing them. But this feels like…

like murder.

RAVEN

Far, far too late now.

She walks quickly, turning her head from side to side, looking for the right car. Tom struggles to keep up.

TOM

You tape him, now you’re bugging her

car. You know, she’s never even going

to get this far.

RAVEN

But we’re doing it anyway. I didn’t

get where I am by believing that

every plan is going to go smoothly.

TOM

(under his breath)

But where are you?

RAVEN

Here we go.

Raven steps around to the side of Kara’s car, a large white four-door. Raven takes a small box, about the size of a pack of cigarettes, out of her jacket pocket.

RAVEN

Play lookout for me, would you?

He turns and stands facing the Lamplighter, acting casual. Raven crouches down, attaches the box somewhere on the underside of the car.

RAVEN

(standing)

There. Ready?

Tom nods.

RAVEN

How about a kiss for good luck?

She turns her cheek to him, and he grudgingly gives her a peck. They walk toward the bar, not even holding hands.

INT. LAMPLIGHTER - NIGHT

The interior of the Lamplighter is a cross between a seedy bar and a tex-mex restaurant, full of people. Pool tables and a jukebox dominate a corner by the car, while booths and tables fill the rest of the space.

In a small alcove in the corner, a man in his mid-twenties stands at a pay phone. From the necklace he wears, three glass eyes on a string, we assume that this is THE EYEBALL KID. He’s talking animatedly into the phone.

EYEBALL

Look, I don’t know what he told

you, but you better get down here

before she does!… The woman is a

fucking machine, that’s what she is!…

Right. Well, get your ass down here

right now!

He hangs up. All traces of anxiety fall away as he does. He picks up the phone, plugs in a few coins.

EYEBALL

Hey… it’s the Kid. I just got off the

phone with him… on his way, just like

you wanted… Yeah, I got it, stay out

of the way, let them confront each

other… I understand. All right. I’ll

call you when we have a winner… shit,

there she is.

He sees Raven and Tom enter the bar, puts the phone down quickly, picks up his drink and moves out into the crowd.

Raven turns from side to side like a surveillance camera as she walks in, familiarizing herself with the surroundings. She spies something over in the corner.

RAVEN

(to Tom, behind her)

Get us some drinks. I’ll be over there.

She points to the rear corner. Tom wordlessly head off toward the bar. Raven walks straight over to Eyeball, sitting in a booth by himself.

RAVEN

The Eyeball Kid, I presume.

He looks up at the mention of his name, his face awed and frightened at the same time, extending his hand.

EYEBALL

Correct as usual, King Friday. You’re

Raven?

RAVEN

Come on over here.

She nods toward a booth in the far corner. He picks up his drink and follows her to it. They sit facing the rest of the bar.

RAVEN

Nice necklace.

EYEBALL

Hm? Oh yeah. Cool, huh? Got it for

the job. I read that people are

distracted by stuff like this. Can’t

remember what you look like. And

afterward it’s easy to pitch.

RAVEN

I don’t read much.

EYEBALL

So what was wrong with sitting over

there?

RAVEN

Lesson One. Sit close to an exit. You

should know that.

Eyeball looks around and only now notices that the emergency exit is directly behind him. He smiles at her.

RAVEN

You’re staring.

EYEBALL

Sorry. I just can’t believe I’m sitting

here talking to Raven White.

RAVEN

Raven Airheart. I never changed my

maiden name.

EYEBALL

Really? So that’s your family name.

Navaho, is it?

RAVEN

Good. My grandfather’s, actually. He

was a pilot for the Air Force in World

War Two. Flying was the thing he loved

most, so he came to be called Heart In

The Air. He flew for the same country

that stole his ancestor’s homeland.

EYEBALL

(wincing)

Ooh. It probably doesn’t help to say,

But I’m sorry about that.

RAVEN

Remembering helps. Most people don’t

even do that. But I still think we’re

owed a shitload of rent.

Eyeball isn’t sure how to respond to this. Fortunately, Tom walks up to the table, carrying two drinks. He sets one down in front of Raven as he sits next to her.

RAVEN

Tom, meet The Eyeball Kid.

TOM

Ah, the rookie. Very good.

EYEBALL

So how does it feel being married

to a legend?

TOM

It has its moments.

Raven stands, downing half her glass as she does.

RAVEN

Shucks, guys, I’m getting embarrassed.

I’ll scout around and see if we can

find our game for tonight. Be back

in a second.

She leaves. Tom and Eyeball watch each other warily for a moment, sipping through drinks.

EYEBALL

So… I heard you’re from around here.

TOM

That’s right. Grew up just a few miles

down the road.

Uncomfortable silence. Finally, Tom lets out a large sigh.

EYEBALL

You don’t like this, do you? You don’t

want her doing this.

TOM

No. But I think it’s the only way

she can get through this, to come

out on the other side.

EYEBALL

I was just going to ask about that.

I heard about what happened that

night… she’s not the same, is she?

TOM

No. I think… I think who she used

to be, who she really is, got lost

somewhere. I guess I’m hoping that

after tonight things will go back

to the way they were before.

EYEBALL

So what was she like?

TOM

(remembering, smiling)

She was… incredible. On one of our

first dates, she took me to one of

those camping stores, and she asked

me to help her get a thirteen-foot

canoe down from the wall. I kept

asking her, “What do you need a

canoe for?”. But instead of taking

it to the counter, we walked right

out the door with it.

EYEBALL

You mean, you just left?

TOM

That’s right. Even got one of the

employees to hold the door open for

us.

EYEBALL

They never thought anyone would try to

steal it.

TOM

That’s one of the things that attracted

me to her. She has a way of knowing

exactly what she can get away with.

I think that’s one of the reasons

she does her job so well.

EYEBALL

Sounds like she was an interesting

person to know.

TOM

She was, and still is, sometimes.

But you should have seen her then.

Every so often the armor falls away

for a minute and I can almost see her

there, behind it. But most of the

time I’m just waiting for it to

happen. So you tell me. Does that

make me noble or a hopeless idiot?

EYEBALL

Here she comes.

They stop talking as Raven comes back and leans on the table.

RAVEN

Got her.

She nods toward the far side of the room, at a group of about ten people talking and laughing at a large, round table. Among them is an attractive woman, about the same age as Raven and Tom. She is KARA BRENNAN. Tom does a barely perceptible double-take.

RAVEN

They haven’t gotten their food yet,

so we’ve got time to finish our

drinks.

(she sits)

You boys have time to get acquainted?

EYEBALL

Yeah. Tom was just talking about the

canoe incident.

As they speak, Tom is the only one paying attention to Kara, who is getting up from her table. She walks down a hall with a sign labeled “Restrooms” next to it.

RAVEN

Well, Tom, don’t go giving away all

our secrets. Tom?

TOM

Hm? Oh. Sorry. I was just…

He looks into Raven’s eyes. Just stares for a minute, trying to see if she’s really there. They reveal nothing.

TOM

Would you excuse me for a second?

He abruptly stands and moves away from the table.

EYEBALL

Has he been drinking much tonight?

RAVEN

A little, but don’t worry. Tom’s

mostly just talk. He pretty much

stays out of the way.

Over Raven’s shoulder, we can see Tom moving toward the restrooms. He stops, looks back, as if deciding something. For an instant, he is standing directly between Raven and the doorway, all three forming an EXACT LINE. Then he turns and continues on his way.

INT. RESTROOM HALL

Tom moves down the short hallway, which contains three doors. The one directly ahead is labeled “Women”, the one on the right “Men”, and on the left “Employees Only”. Between the men’s and women’s rooms is a drinking fountain. He looks around and, so as not to appear suspicious, leans down to drink from the fountain.

A woman comes out of the restroom and passes by him. He turns his head and, as just before the door swings shut, can see Kara touching up her lipstick in the long mirror over the sinks. He stands up, wiping his lips. The door opens, and Kara, her purse slung over her shoulder, almost runs into him. She stops and stares at him.

TOM

Kara?

An uncertain moment passes, then Kara smiles.

KARA

Tom? I haven’t seen you in… God!

How are you?

TOM

Great. Great. Can we talk for a

second?

Kara’s a little apprehensive of Tom’s sudden appearance.

KARA

Well, I’m with my friends right now…

TOM

Seriously. It’s important. I’m afraid

I’ve got some… really bad news for

you.

Kara starts trying to skirt around him and get back into the dining area.

KARA

All right. Just come back to the

table with me…

Tom grabs her arm.

TOM

No. We can’t go out that way.

KARA

What are you doing?

TOM

Please, just let me explain…

(he gets an idea)

Do you have a Walkman in your bag?

KARA

Yeah. Why?

Tom digs around in his pockets and pulls out the tape Raven made of her meeting with Jake.

TOM

You’ve got to listen to this. Right now.

SYZYGY - 4

INT. LIVING ROOM - DAY

Raven sits in a bright, comfortable armchair in a white, sparsely-decorated living room, holding a drink in her hand, staring into space. The look in her eyes has changed. Before she seemed invincible, and now she looks hardened, as if she has seen too much.

MALE VOICE

(off-screen)

And then?

RAVEN

(still staring into space)

Hm?

MALE VOICE

(off-screen)

And then what? How did you get out

of it?

Raven returns to the present and looks at the man speaking to her, who has been looking out the window but has turned to talk to her. He’s a little older than he, a strong, well-built man who looks like he works outdoors for a living. He is JAKE BRENNAN, and he seems very troubled.

RAVEN

Oh. The next morning I woke up

in Tom’s apartment. He had carried

me all the way home, cleaned me up

and put me to bed.

JAKE

Romantic. Most men would have bailed

and left you there.

RAVEN

I know, he’s a rare one. He seemed

to get off on what I did as much as

me. Three months later, we got married.

JAKE

Sounds like a strange relationship.

RAVEN

Not really. His life needed excitement,

mine needed stability. A perfect

match, actually.

Raven tilts her head back and empties her glass. Jake turns back to the window. The house they’re in is the first completed model in a developing subdivision. Nearby, a large industrial dumpster reads “Brennan Construction Co.”

JAKE

Does Big Ed know about him?

RAVEN

Hm? Oh, I wasn’t working for Big Ed

then. It was another guy.

(changing the subject)

So now that I’ve told you about mine…

(taps her wedding ring against her glass)

Tell me about yours.

JAKE

Well, what kind of things do you need

to know?

Raven stands and walks over to him. He steps away from the window, and she follows.

RAVEN

Basic stuff. What she looks like,

why she deserves to die, that kind

of thing.

Jake looks at her warily. She smiles a bit, enjoying his reaction, but the expressions looks calculated and doesn’t last very long.

JAKE

She doesn’t deserve it more than anyone

else, but I’m sure Big Ed has told

you the position I’m in.

RAVEN

Mm-hm. So what’s the timetable?

JAKE

I need proof of her death within

twenty-four hours. Along with you,

Big Ed assigned me an insurance lawyer.

He’ll be here at nine o’clock sharp

tomorrow morning to stop Big Ed’s men

from doing anything… unpleasant. It’s

all very efficient. I get the feeling

this kind of thing happens a lot.

RAVEN

No, but Big Ed believes in being

prepared for anything. So what exactly

was your downfall, horses?

JAKE

(getting agitated)

Don’t pretend like you know me, lady.

You don’t know shit about what I’ve

been going through. Last thing I need

is some fucking Indian giving me grief.

RAVEN

It’s Navaho, asshole, and I know enough.

You’re in hock up to your eyeballs,

and if you don’t come through, it’ll

be you in the ditch instead of your

wife. It’s a very big deal in Big Ed’s

eyes. But still business. He knows

I’ll do what’s required.

JAKE

(through gritted teeth)

Does Big Ed know you’re such a soulless

bitch?

RAVEN

Course. That’s why he assigned me.

Have we had enough name-calling for

one afternoon?

Jake reaches into his back pocket. By the time he removes his wallet, Raven has dropped her glass and drawn her pistol, leveling it squarely at his head. The empty glass hits the carpeted floor and rolls away. Jake puts up his hands, showing her the wallet, and she relaxes. Her eyes, however, continue to register no expression.

JAKE

Her picture.

He pulls out a small picture and hands it to Raven.

RAVEN

Hello, Kara. Pretty.

JAKE

Yeah.

RAVEN

But not for long.

(she pockets the picture)

Mr. Brennan, don’t worry. In twenty-

four hours, both your debt and your

wife will be gone, and I’ll be far

away from here. I don’t think you’ll

miss any of us. You can get back to

building homes for happy little

families.

Jake turns to the window, refusing to look her in the eye.

JAKE

Thank you.

RAVEN

You know, a wise old Navaho, my

grandmother, actually, told me that

though bodies may part company, little

bits of the souls of everyone we ever

know stick to us. Maybe you should

think about that when you remember

Kara.

JAKE

And how many dead people are stuck

to you?

Raven leaves without making a sound or expression.

INT. HOTEL ROOM 18 - DAY

Raven enters. Tom is lying across the bed in boxers and a t-shirt, reading. He looks up expectantly.

RAVEN

I thought you’d be taking a nap.

TOM

No. I wanted to wait for you.

Raven removes her jacket, looks in the mirror, then turns away a little too quickly. Tom tries to keep the conversation going.

TOM

So, what’s he like?

RAVEN

Jake? Typical son of a bitch. His

wife looks clueless enough. A fish

in a barrel.

TOM

You saw her?

RAVEN

No. Got her picture.

TOM

Oh.

Raven starts getting undressed. Tom watches her closely. She doesn’t seem to notice.

RAVEN

Plus, we’re meeting up with a witness.

TOM

A what?

RAVEN

I’ve got an audience. There’s a kid

who works for Big Ed that’s going

to tag along. Apparently, he wants to

be like me when he grows up.

TOM

Who is it?

RAVEN

All I got was his call name. The Eyeball

Kid. Sounds like a military dropout

who picked up a sniper rifle once and

thinks it’d be fun. Tonight should

scare him off…

(looks at Tom, humorlessly)

Unless he turns out to be like you.

Tom pretends not to hear and goes back to his reading, hurt. Raven produced a thin recorder from the inside pocket of her jacket. Tom suddenly gets very nervous.

TOM

Raven, you said you weren’t going to

do that…

RAVEN

What? Tape him? I just wanted to make

sure I have an edge if I need it.

I don’t trust him. Or Big Ed, for

that matter. Just covering my ass.

TOM

Do you have any idea what he would

have done to you if he found it?

RAVEN

Yeah, but he didn’t.

Tom grudgingly gives up. After a few moments:

TOM

Raven?

RAVEN

(still undressing, not looking at him)

Hm?

TOM

How do you feel about this? It’s not

like it used to be. She doesn’t work

for the Organization.

RAVEN

I’m ready.

TOM

No, I mean how do you feel?

RAVEN

I’m ready. I’ll pull the trigger,

same as always.

Raven gets into bed, and Tom, defeated, gets under the sheets as well.

RAVEN

Is the alarm set?

TOM

Yeah.

RAVEN

You can leave the light on if you

want.

She turns away from him, and he lies on his back, staring at the ceiling. He hesitates a moment, then gently places one hand on her hip.

RAVEN

(issuing a warning)

Tom…

He removes his hand and turns out the light.