SYZYGY - 16

EXT. AMUSEMENT PARK - PRE-DAWN

Tom watches them disappear into the building. He keeps rocking back and forth, trying to work his hands free, but finally slumps forward, defeated.

INT. RAVEN’S CAR - PRE-DAWN

Eyeball is still driving. Raven is awake and holding the locator, watching it intently. The readout changes from 0.2 to 0.3.

RAVEN

Yeah, you’re right. It was that dirt

road.

EXT. RAVEN’S CAR - PRE-DAWN

Eyeball pulls over onto the should, then hangs a U-turn, heading up the dirt road they just passed. After a few moments they see Kara’s car.

INT. RAVEN’S CAR - PRE-DAWN

EYEBALL

Did they ditch it? Maybe they went

into the hills on foot.

RAVEN

They would have done that days ago

if they were still running. They

know we’re catching up.

They coast up to the top of the hill, passing under the TOPHETH sign. The amusement park spreads out before them.

EYEBALL

Wow.

The car pushes slowly through the high grass toward the carousel.

RAVEN

This shouldn’t be here. It’s not

right. Like an old battlefield.

EXT. CAROUSEL - PRE-DAWN

Tom is watching the car get closer, closes his eyes as it stops about thirty feet away.

TOM

Please, please, please…

The doors open. Raven gets out. She starts striding toward Tom through the long grass. Eyeball trails her. Tom just stares. She hops up onto the carousel, comes right over to him, and he tries to get as far away as possible, almost falling off the horse. She stops right next to him.

RAVEN

Explain.

TOM

(all at once)

I knew her in high school. I knew

you were going to kill her no matter

what I did, so I bolted. I’m sorry.

Raven thinks this over, then lunges. She throws her arms around him.

RAVEN

I’m sorry, Tom. I’ve been away for

so long. Please forgive me.

TOM

(stunned)

It… it’s okay…

She pulls back. Tom is genuinely astonished and confused.

TOM

So, you’re not going to kill her?

RAVEN

No. I’m already free. Kiss.

She surprises him with a deep, passionate kiss unlike any he’s had for a long time. When they finish, Tom looks into her eyes.

TOM

It’s really you. You’re back.

RAVEN

I was never really gone. Just lost.

They kiss again, and then she starts cutting the tape around his wrists.

TOM

(over her shoulder)

How are you, Mr. Eyeball Kid?

EYEBALL

Not too bad, considering I’m wanted

for murder.

The tape snaps and Tom hops down off the horse, rubbing his wrists.

TOM

Jake’s here.

RAVEN

I know. How did I know that?

TOM

He’s got Kara. He took her in there.

He points toward the “Mystifying Mirror Maze”, now starting to turn orange in the pre-dawn light. Raven draws her gun.

RAVEN

Let’s go.

They walk toward the maze, following the trail left by Jake and Kara in the tall grass. They walk side by side, Raven between and slightly ahead of the two men.

EXT. MIRROR MAZE - PRE-DAWN

The three of them walk up the steps leading to the entrance platform.

RAVEN

Looks like Big Ed’s going to get

that showdown after all.

EYEBALL

And we’ve only got one gun.

RAVEN

Kid… I just want to thank you for…

whatever it was you did for me.

Bringing me back from the dead, I

guess.

She kisses him on the cheek.

EYEBALL

Sure. Anytime.

Raven turns to her husband, hands him her knife.

RAVEN

Ready?

He nods. She draws her gun.

RAVEN

I’ll take the front, you take the

exit, okay?

TOM

Sure. You know, I’d almost forgotten
what a good kisser you are.

RAVEN

Well, I guess I’ll just have to keep

reminding you.

Tom smiles at her and takes off toward the exit.

RAVEN

(to Eyeball)

I’d ask you to come along, but we’re

out of guns. And you’ve done so much

already.

EYEBALL

It’s okay. I’ll keep watch out here.

RAVEN

I guess you should leave this to the

professional.

EYEBALL

If you need me…

Raven gives him a thumbs-up. He returns it, and she steps up to the archway. The sun will be rising very soon. She sees something just inside the entryway. It’s Jake’s gun. She checks the chamber, finds it empty, and tosses it to Eyeball. She steps inside.

SYZYGY - 15

EXT. HOTEL - NIGHT

Still lying across Tom’s lap, Kara shudders.

TOM

(reading)

“The town clock struck seven. The

echoes of the great chime wandered

in the unlit halls of the library.

An autumn leaf, very crisp, fell

somewhere in the dark. But it was

only the page of a book, turning.”

Kara closes her eyes, snuggles deeper into Tom’s jacket, pulling it around her.

KARA

Thank you, Tom…

EXT. ROAD - NIGHT

Raven sits by the side of the road, great wracking sobs purging the tears she should have shed all these months. Eyeball sits beside her, rubbing her shoulders and occasionally looking up at the moon, as it gradually moves out from under the earth’s shadow. Raven turns her anguished eyes up to it, and as she sees that it’s coming back white, her tears turn to those of gratitude and joy.

INT. KARA’S CAR - PRE-DAWN

Kara drives while Tom sleeps in the passenger seat. They’ve finally reentered hilly, green country. Tom’s eyes open, and he looks at her, smiling. She looks over at him and returns the smile.

KARA

I’ve had enough. How about you?

TOM

Yes. I was just about to ask.

KARA

Right here.

She slows down and turns up a deserted-looking dirt road, which runs up the side of a hill. They follow it a short way, then pull over. They get out. Kara leans against the fender and crosses her arms, looking off toward the east.

KARA

Tom…

TOM

Hey, what’s that?

He points past her, up to the top of the hill, where the road leads. At the crest of the hill, standing against the lightening sky, stands an arch over the road, with an old wooden sign at its apex. The weathered lettering reads: TOPHETH.

KARA

Some kind of signpost?

TOM

The sunrise will be even better from

up there. Come on.

They walk up to the plateau on which the sign stands. As they reach the crest, a long plain opens up ahead of them.

EXT. ANCIENT AMUSEMENT PARK - PRE-DAWN

Tom and Kara find themselves facing the midway of what must have been, in its day, a traveling amusement park. Clapboard buildings line either side of a long expanse of ground, and at the far end can be seen a near-mint condition carousel, which looks as if it were just missed by the wreck of a collapsed Ferris wheel, lying on its side behind it.

The plain is covered with thigh-high grass. The signs on the buildings are barely readable, garish side-show drawings in sun-faded colors.

TOM

Would you look at that?

KARA

How long do you think it’s been here?

They instinctively run to the carousel and hop onto two of the horses. The old structure groans with the weight but holds. They sit side by side facing east, where the sun will be rising within minutes.

TOM

I’m glad I finally got to know you,

Kara.

KARA

Me too.

TOM

But… after we get all this straight-

ened out…

KARA

I know. That’s what I was going to

say. I’m not going to expect anything

from you that isn’t rightfully mine.

I guess I never should have. But…

it kind of hurts anyway. Been one

hell of a first date, huh?

TOM

You’ll be all right. I’m not going

to leave you stranded out here. We’ll

work something out.

KARA

I know, but you’ve just been so great.

Maybe it’s all been a big mistake, and—

She breaks off mid-sentence. Her eyes go wide as something causes the carousel to creak and she stares at something behind Tom.

TOM

What? What’s wrong?

The muzzle of a gun comes up, the shadow of the person holding falling across him. The barrel presses against his neck. He freezes.

TOM

Whoa. Hold on. I can explain this.

She’s an old friend of mine. I knew

you were going to kill her no matter

what I said, so I…

JAKE

So you decided to kidnap her.

KARA

Jake, don’t… please.

JAKE

(to Tom)

Give me any reason why I shouldn’t

take you right now.

KARA

He saved my life.

JAKE

He stole you and ran. He’s no hero.

Look at him…

He’s getting angry. The barrel presses deeper into Tom’s neck.

JAKE

I would love to kill you.

KARA

Jake, I’ll do what you want. Leave

him here. Raven will be here any

minute. You think she’s going to

let him live after what he did?

JAKE

And exactly what did he do, Kara?

KARA

Leave him here and I’ll tell you

everything.

Jake thinks it over, then tosses Kara a small roll of duct tape from one of his pockets.

JAKE

(to Tom)

First the main course, then dessert.

Grab the pole, please.

Tom leans forward and grasps the pole coming out of the horse’s back.

JAKE

Hurry, Kara. Raven’s very close,

and we have things to do before

she gets here.

Kara tapes Tom’s wrists to the pole.

KARA

Tom, I’m so sorry.

JAKE

Don’t be. He took you away against

your will.

KARA

Instead of being killed by the

woman you hired!

JAKE

Come on. Let’s find a place to sit

and figure out the truth behind all

of this.

(quietly, leaning close to Tom)

Do you have any idea how much pain

your wife has caused? The people who

have died? It’s almost tine to con-

gratulate her. One way or another

she’s going to pay for it all.

Jake takes Kara’s hand and leads her away.

TOM

You’re not going to get away, Jake!

Raven’s coming after you now! If you

hurt either of them I’ll…!

He grits his teeth and howls in frustration, thrashing back and forth.

EXT. MIRROR MAZE

Kara keeps looking back over her shoulder at Tom, watching him try to break free. Jake leads her to the entrance of what a large wooden sign over the entrance proclaims as “The Mystifyng Mirrror Maze”. The front of the building is painted to resemble a dark forest. On the other front corner of the building, also facing the midway, is the exit. As they step up onto the entry platform, Kara speaks.

KARA

What’s going on, Jake? How did you

find us?

JAKE

It’s more like you finally found me.

He guides her into the maze, then rips off a piece of tape and follows her menacingly.

SYZYGY - 14

INT. RAVEN’S CAR - NIGHT

Raven awakens with a start. Eyeball doesn’t notice.

RAVEN

What time is it?

EYEBALL

(checking his watch)

About eleven-thirty. Why?

RAVEN

Pull over.

EYEBALL

Why?

RAVEN

Just do it.

Eyeball pulls over to the shoulder. Raven gets out of the car and walks around to the front, stepping up on the hood. She sits down so that her back is up against the windshield.

RAVEN

Come on out!

EYEBALL

What are you doing?

EXT. RAVEN’S CAR - DESERT - NIGHT

Eyeball opens his door and gets out.

EYEBALL

We’ve got people to catch, remember?

RAVEN

What are you in such a hurry for?

Eyeball walks around to the front of the car.

EYEBALL

Because I want this to be over. I’m

sick of driving around in the wastelands

with you.

RAVEN

Well, I love you too. Now get up here

or I’ll blow your face off.

Eyeball sighs and climbs up. They sit silently for a moment.

EYEBALL

What are we looking for?

RAVEN

(pointing up)

That.

Eyeball looks directly up ahead of them and sees the moon. One edge of it is covered by a massive shadow making its way across the face.

EYEBALL

Wow…

RAVEN

Isn’t that something? I bet you didn’t

even know this was going to happen

tonight.

EYEBALL

No, I didn’t.

RAVEN

Here. Lie back or you’ll strain your

neck.

They lie back side-by-side on the roof of the car, watching the earth’s shadow slowly eat the moon.

RAVEN

It’s a syzygy.

EYEBALL

A what?

RAVEN

A syzygy. A conjunction. An eclipse.

My grandmother used to tell me that

when things suddenly become aligned,

it’s an opportunity for great change.

Sun, moon, earth.

EYEBALL

My grandfather said that stars are

the spirits of those who have died

before us, lights to help us find

our way home. They’re the ones who

left the world better than they found

it. But the ones who didn’t, and

destroyed more than they created,

those people go into the ground, and

their unresolved anger keeps the

earth warm, makes the fires rise.

That’s how they repay their debt, by

helping the living to survive and

making the plants grow.

RAVEN

The balance between good and evil.

EYEBALL

Right. Both inevitable, both necessary.

But it’s up to us to try… there’s some-

thing I feel I should tell you.

RAVEN

What’s that?

EYEBALL

My job wasn’t to witness the hit.

There wasn’t supposed to be a hit.

RAVEN

What do you mean?

EYEBALL

Right before you came into the bar,

I was on the phone with Jake, telling

him to come down there and stop you.

RAVEN

Big Ed’s idea.

Eyeball nods.

EYEBALL

You ever stop to wonder why there’s

all this turbulence inside the Organ-

ization?

RAVEN

That’s what crime families do. They

kill each other off.

EYEBALL

They’re fighting over you, Raven.

She turns and stares at him.

EYEBALL

You and Jake. They’re strongly divided

on who will be what they call “the

vessel”.

RAVEN

Vessel? Vessel for what?

EYEBALL

That’s what I can’t figure out. They

make money as a crime syndicate, but

it seems like they’re really trying

to find a certain person, someone

who can… I don’t know. From what

I’ve heard, it’s like they believe

there’s some kind of manifestation

of chaos that is coming, and one

of you will be its vessel.

RAVEN

Bullshit.

INT. RESTAURANT - NIGHT

JAKE

So you’re not going to help me then?

SHARON

No. I won’t. You can’t win this time.

JAKE

I told you. I always win, and time is

all it takes.

Jake lets go of her hand, turns and walks away. She stares at her fingers. The nails of that hand have all turned black.

INT. RESTAURANT - LOBBY - NIGHT

Jake walks quickly through the lobby. People waiting part for him without noticing him. As he reaches the door, he looks up at Sidney the parrot, who is returning his gaze quizzically. Jake cups his hand to his mouth, leans in, and whispers something in Sidney’s ear. Then he’s out the door like a cold wind.

Sharon comes running through the crowd. She almost runs past Sidney, but something in the bird’s eyes makes her stop. They stare at each other for a second, then Sidney slowly opens his beak.

SIDNEY

(is a deep, horrible voice, subtitled)

Moloch…

Her eyes fly wide in horror. Sidney’s beak closes. She throws open the front door and runs out onto the front walk.

INT. JAKE’S CAR - NIGHT

Jake drives away, tossing something out the window toward the base of the obelisk as he speeds away.

EXT. MIDDLE OF NOWHERE - NIGHT

The moon, fully eclipsed above the horizon, is blood red. A small pop comes from the base of the Middle of Nowhere obelisk. It shudders, the lights wink out, and then it tilts like a falling tree directly toward the front door of the restaurant, where Sharon is standing. She dashes back in a fraction of a second before the top ten feet of it obliterates the front of the building.

INT. HOTEL BATHROOM - NIGHT

Tom leans against the bathroom sink, his back to the mirror. The lights are out, his face in his hands. Suddenly a wide beam of red light comes in the window, falling across his shoulders. He notices the change of light and looks out the window. The moon is glowing a deep red. He turns, letting the light fall across him. He looks at himself in the mirror, meeting his own gaze with new strength.

INT. HOTEL ROOM - NIGHT

The bathroom door opens. Tom comes out, moving with purpose. Kara is sitting provocatively on the edge of the bed, waiting for him. He walks right by her, to the chair he has laid his jacket across. He picks it up and hands it to her.

TOM

Here. You’ll need this.

KARA

Why?

He helps her to her feet, puts his hands on her shoulders and stares deeply into her eyes.

TOM

I’m going to do what I always dreamed

about doing.

She smiles, puts on the jacket hurriedly. He takes her hand and leads her toward the door.

KARA

Tom!

He opens the door and leads her out into the reddened night.

EXT. HOTEL - NIGHT

He leads her across the parking lot to a lone tree that stands near the road. The moon-shadows through the branches look like cracks across the ground.

KARA

What are you doing?

Tom suddenly reaches into the jacket, and Kara looks confused when his hands comes out holding the weather-beaten copy of Something Wicked This Way Comes.

TOM

Let’s get comfortable.

They sit down under the tree. He leans back against the trunk, Kara lies with her head in his lap, looking up at the moon.

TOM

(reading)

“First of all, it was October, a

rare months for boys. Not that all

months aren’t rare. But there be

bad and good, as the pirates say. Take

September, a bad month. School begins…”

As he reads, Kara closes her eyes and smiles.

EXT. RAVEN’S CAR - DESERT - NIGHT

Eyeball and Raven are still watching the Earth’s shadow move across the moon.

EYEBALL

I’m not going to let you do it.

I won’t let you kill Kara.

RAVEN

Because you think I might be this

“vessel”?

EYEBALL

Yes. You haven’t heard them talk

about it! It’s like there’s a real

being who’s waiting to take over the

soul of whoever is the best vehicle

for chaos! For Jake, it has something

to do with his family history. He

must have been bred for it, or some-

thing. But you! You chose this path

That’s what makes you so powerful.

And order has to be restored.

Eyeball jumps down onto the ground, looks out into the desert.

RAVEN

What?

EYEBALL

(over his shoulder)

I can see it now. You and me. We’re

the destroyers. We belong here in

the desert.

Raven jumps down off the car after him.

RAVEN

What the hell do you even know about

me? I didn’t choose anything! You

think I wanted to end up this way?

I had to kill to survive!

EYEBALL

It doesn’t matter why. It only matters

that you did.

Raven growls in frustration and shoves the barrel of her gun into his face. Eyeball raises his hands and backs up against the car, genuinely afraid.

EYEBALL

(softly, carefully)

And what happens if you kill me,

Raven? Will that set you free?

Raven stops, realizes what she’s doing, and slowly lowers her gun. Eyeball slumps back against the car. The two look at each other, but Raven’s eyes are sill completely blank. This enrages him, he reaches into his pocket and pulls out his own gun, shoving it up against her left eye. She falls to her knees, as if asking him to do it.

EYEBALL

There! Feel that! Feel anything! I

should do it! You’re already dead!

Suddenly, the moon above them, totally eclipsed, turns a deep shade of red, exactly the same as that night long ago when Raven lost part of herself. Raven looks at him, and his gun, his eye, and the red moon directly behind him all come into an EXACT LINE.

RAVEN

I’m not dead. I’m still here… just…

Her eyes open wide and roll like a frightened horse.

INT. ALLEY - NIGHT

Covered in blood and lying across the hood of a white car, Raven’s eyes flicker open, see the moon dripping and red above her. A shadow suddenly swipes across it.

EXT. ROAD - NIGHT

Suddenly, something snaps. Raven drops her face into her twitching hands. Eyeball lowers his gun, and her shaking suddenly stops. When she look up again, her eyes register real, painful emotion. She stands and runs off to the side of the road, where she is violently sick over the guardrail. Eyeball does not watch her. Instead, he stares at the gun in his hand, and angrily hurls it over the car and into the desert.

SYZYGY - 13

INT. RAVEN’S CAR - NIGHT

Eyeball is driving while Raven tries to curl up on the passenger seat. He looks at the dashboard. It reads 64.3. Raven covers herself with her jacket and falls asleep quickly. She enters a nightmare…

INT. CAR - NIGHT

Raven is in the front seat of the red car she drove on the night of her last hit. The upholstery and interior is red as well. It’s not until she starts moving that she realizes that everything is coated in blood. She begins to panic, trying to get the liquid off her hands, but only manages to cover herself with it.

EXT. STREET - NIGHT

Raven gets out of the car, frantic. She keeps trying to wipe herself off, but the blood is gone. She stands on a deserted street. The pavement is wet, reflecting the streetlights.

On the far side of the street is a large black building, all glass and steel, a giant obelisk that reflects the clouds off its sheer face. From out of nowhere, a group of three semi trucks drive by between her and the building. As they pass, they become Chinese dragons, their headlights turning into burning eyes. Whispered warnings fill the air.

They pass, and the street is quiet again. A single set of revolving doors at the base of the building turns in the wind. Raven crosses the street and steps through them.

INT. BUILDING - LOBBY - NIGHT

The light in the lobby is dim and distant. From high above, we can see that the floor tiles create a giant infinity sign, rendered in black and white. Raven doesn’t notice and heads for the elevators. From out of the shadows steps a woman, about Raven’s age, with dark hair and a pale face. She wears a black trenchcoat that almost reaches the floor. She is TONYA.

RAVEN

Tonya?

They embrace.

RAVEN

I’ve missed you so much.

She pulls back to get a look at her friend, who just smiles and walks to the elevator. It opens. Raven rushes to catch up with her.

INT. ELEVATOR

As Raven enters, Tonya stands by the control panel.

RAVEN

What’s going on? Why are we here?

TONYA

(pointing up)

I work for him now.

RAVEN

Who?

Tonya doesn’t answer, just leans over and pushes a button on the panel. Raven notices a strange lump on Tonya’s back, as if she’s wearing a backpack under her coat. In no time they’re on the top floor. The doors open, and Tonya gestures through the doors. Raven strides into the room beyond, followed closely by Tonya.

INT. GODFREY’S OFFICE - NIGHT

The women enter Godfrey’s office. Outside the huge window, a night cityscape glows. Instead of Godfrey sitting in his chair, however, it’s Jake.

JAKE

Raven! My favorite employee!

RAVEN

(feeling some deja vu)

No… I don’t work for you anymore…

I’ve paid my debt. I’m here to resign.

JAKE

Paid the debt? I don’t think so.

RAVEN

Twenty kills at three thousand apiece.

That’s all I owe.

JAKE

That’s all the money you owe. But

your soul… now that’s a different

story.

RAVEN

No! I had no choice!

JAKE

Wrong! Your life or your victims’!

One life or twenty! Your debt is

far from paid!

Raven draws her gun slowly. Jake doesn’t move.

TONYA

Raven, stop!

Raven fires repeatedly at Jake. Tonya falls to her knees, face in her hands, wings bursting through the back of her trenchcoat. Jake’s body convulses, blinding white light erupting from each hole Raven puts in him…

INT. HOTEL ROOM - NIGHT

The clock on the bedside table reads 11:27. Kara is lying across the bed on her stomach, remote in hand, channel surfing. Her hair is wet, and she’s wearing one of the hotel’s bathrobes. Tom is looking at himself in the vanity mirror.

TOM

Are you ready to go now?

KARA

(not looking at him)

Tom, can’t we just stay here for

a little while? I’m so tired…

TOM

You can sleep in the car. We’re losing

ground fast.

KARA

Would you sit with me? Just for a

second?

TOM

Look, we stopped so you could shower.

Now we’ve got to get going.

KARA

Just a second. Please.

He concedes reluctantly. Their attention focuses on the screen, where Kara has found a rerun of the Newlywed Game.

KARA

Could you rub my shoulders? I think

I’ve got a kink in my neck from all

the driving.

TOM

(almost refuses, then…)

Okay. Just for a minute. When the

show’s over, we’re going, all right?

KARA

Sure.

Tom scoots over next to her, and begins rubbing her shoulders tentatively. They keep watching the TV. Tom realizes that Kara’s shoulders are trembling. She’s crying softly. He opens his mouth to say something, closes it again when he can’t find the words.

KARA

What are we doing, Tom? Where are we

going?

TOM

I don’t know. Maybe we can find another

car when we hit the coast.

KARA

And then what? When can we stop?

TOM

I don’t think we can. I know Raven

won’t.

There’s a long pause as they watch the happy couples on the screen.

KARA

I tried calling Jake while you were

outside. The recording said the number

was no longer in service.

TOM

Maybe he had it disconnected.

KARA

I don’t know… I don’t think I could

have said anything if he did answer.

God…

(buries her face in her hands)

Tom?

TOM

Hm?

KARA

I want you to make love to me.

TOM

Kara… don’t.

He gets up, and she rolls over onto her back, looking up at him, tears in her eyes.

KARA

What was all that you told me in

the car? You saved my life back

there because you wanted me.

TOM

I didn’t mean it like that.

KARA

I’m your goddess, you said.

TOM

You don’t have to do this.

KARA

I want to. Can’t you tell? I need to.

TOM

Need to what?

KARA

(reaching for him)

I need you to want me. I need you

to care about me.

TOM

Can’t I care about you without sleeping

with you?

Kara gets up off the bed, starts moving toward Tom, who backs away.

KARA

I want to be close to you. As close

as I possibly can. Aren’t you tired

of fighting it?

TOM

Kara, stop… not like this…

She backs him up against the vanity next to the bathroom door. She places one hand on his chest, pushing him back a little. She keeps advancing even as tears spill down her cheeks. She moves forward and presses up against him, kissing his lips slowly. He can’t help but respond, kissing her back with equal passion. She pulls away long enough to say:

KARA

Show me what you always wanted to

do but couldn’t. Please, Tom…

Her hands unbutton his shirt, exposing his chest. She leans forward, starts kissing him there. She begins working her way downward… and he sidesteps her, ducking into the bathroom, closing and locking the door before she can regain her balance. She begins pounding on the door.

KARA

Damn it, Tom! Come back out here!

Please!

TOM

(from behind the door)

Just give me a second, okay? Go lie

on the bed and wait just one second.

She does as he says, smiling. She knows she’s winning.

KARA

I promise you won’t be disappointed.

SYZYGY - 12

INT. RESTAURANT

Kara walks back toward the table. When Tom, still picking at the nachos, sees her coming, he waves to get the attention of the band. Tom points at her, and the band’s TRUMPET PLAYER leans into his mike, his voice gravelly.

TRUMPET PLAYER

This one goes out to a lady who’s

feeling a little lost today. Don’t

we all…

He gives a quick four-count and the band lurches into the seven-note motif of the “Lost In Space” theme. Kara realizes what it is and smiles. She points a finger at Tom: “You did this.” Tom shrugs and starts laughing. On the way back to the table, she gives a thumbs-up to the band, all of whom wave at her.

KARA

We should get going.

TOM

You’re ready?

KARA

Yes. I’ve got an idea, too. What’s

west of here?

TOM

I have no idea. Nothing, probably.

KARA

Come on. We’ll talk in the car.

EXT. RESTAURANT - AFTERNOON/EVENING

From high above the Middle of Nowhere plaza, we watch Tom and Kara walk back to their car, get in, and drive away. After they’ve gone, the shadow of the obelisk starts swinging around, crossing several of the roman numerals on the building’s facade. It now becomes clear that the plaza is a giant sundial, and the shadow slides from afternoon to early evening.

Time slows to its regular pace, and Raven’s car pulls into the lot. She and Eyeball get out, look around, and head for the restaurant.

RAVEN

This must be where they stopped.

Well ask around, gas up, grab

something to eat, and be back on

the road in thirty minutes.

EYEBALL

Must be. It’s the only thing out

here.

INT. RESTAURANT - EVENING

Inside, there are several more patrons than before, and the band is playing with a little more energy. Raven steps up to the bar, and Eyeball lingers nearby to watch the band. Sharon comes over to Raven.

SHARON

What can I get you?

RAVEN

Actually, I’m looking for a couple

that must have been here around

four.

Sharon immediately knows who she’s talking about and looks at Raven suspiciously.

SHARON

What about them?

RAVEN

So they were here? A man and a woman?

SHARON

Yeah. Nice lady. I talked to her

for a while. What’s your interest?

RAVEN

The man she was with was my husband.

SHARON

Ohhh… I see. Well, then you should know

that he’s not going to sleep with her.

RAVEN

You think I care about that?

SHARON

Yes I do. In fact, I think that’s

one of the few things you do care

about.

Sharon is now looking directly into Raven’s eyes, first one, then the other, as if she’s reading words written there.

SHARON

Other than that, I’m seeing nothing.

Raven turns her eyes away.

RAVEN

There’s nothing to see.

SHARON

I think there is. But it’s buried

so deep that not even you can find

it. You’ll need someone else to

bring it out.

RAVEN

Won’t happen. Everything’s… broken.

SHARON

You’ll see. Sometimes things just

line up and fall into place. Isn’t

that right? Your husband has faith

in that. I think you should too.

Raven now turns back to her.

RAVEN

Who are you?

SHARON

Just a bartender. There’s something

following you. I can feel it.

EXT. RESTAURANT - EVENING/NIGHT

Raven almost runs out the front door. Eyeball follows her back to the car, trying to keep up.

EYEBALL

What did she say to you?

RAVEN

They were here… God, my head…

(puts her hands to her temples)

…here.

She throws him the car keys.

RAVEN

Can you drive for a while?

EYEBALL

Sure. Are you all right?

RAVEN

I don’t know. Let’s just go.

They get into Raven’s car and drive off. Once again, time speeds up, and the sundial rotates further, until the sun sets and all the shadows merge into one. There are more cars in the parking lot, and the neon lights come on, outlining the shape of the building. Time resumes its normal speed, and a car rushes in from the horizon, only slowing down as it nears. The car parks sloppily, and Jake jumps out, not at all tired. He walks into the restaurant, wincing a little when he hears the music.

INT. RESTAURANT - NIGHT

Frau Diablo is playing onstage for a crowd of about two dozen people, doing their jazzy improvisations on the “Lost In Space” theme. Sharon is quite busy, her hands pouring and taking money all at once. As her hand comes down on a five, Jake’s hand slaps down on top of hers, pinning it. She looks up and meets Jake’s eyes. The connection of their hands immediately causes the music to fade into the background along with the rest of the world as they speak to each other.

JAKE

Good evening.

She is instantly transfixed by his gaze.

SHARON

H-Hello.

JAKE

I was hoping you could help me find

someone.

SHARON

(terrified)

That’s what everyone wants from me

today.

(looks into his eyes)

I know you… you’re not welcome here.

JAKE

I’m not who you think I am. We get

mistaken for each other all the time.

I actually find it a little insulting.

SHARON

You won’t catch them. They’re too far

ahead of you.

JAKE

I always catch up to everyone…

eventually. You can’t escape chaos.

SHARON

Yes, we can. We’re human. We’re the

opposite of chaos. We create order.

JAKE

(laughs)

Oh, that’s so cute! You never learn

until it’s too late that things are

precisely the other way around.

SHARON

I don’t believe you…

JAKE

You don’t have to. You’ll learn sooner

than you think, maybe.

The First Time I Heard... Tom Waits

I first heard Tom Waits in 1983. At that time, the two-year old MTV channel was the beginning and end of my pop music education. If a song came out during the first half of the 80’s and didn’t have a video, I most likely didn’t even realize that it existed. I was kind of thrown into the deep end of a long musical tradition, and had to try to piece it together as I went. I was awash in the images and sounds of new wave artists (the new wave of what I wasn’t sure of), as well as other folks like Stevie Nicks, Peter Gabriel, John Fogerty and Don Henley, who seemed to be approaching middle age and gave me no clues as to why they were famous.

Videos were the primary selling point for music then, and the images that paraded by were designed solely to catch the eye; any incidental meaning was usually accidental. So in the midst of all this color, noise, and flash, one day a sepia-toned main street came into view. A grizzled-looking man in a shabby drum major costume began a stately parade down the street accompanied by a small, somber marching band, his voice unpretty and croaking. It was Tom Waits, already over ten years into his musical career, singing “In the Neighborhood”.

This came so far out of left field, and was so unlike anything I had seen up to that point, that my brother and I made it the butt of jokes for years after seeing it only that one time. It was like a drunken uncle had stumbled onto the stage of a rock concert and taken over the mike for three minutes before being dragged off by security.

Of course, I eventually learned that there was more to music than the ten neatly-packaged singled doled out for me per hour of MTV, and I began to venture onto other avenues and side streets of music on my own. One day in 1993 I somehow remembered that strange time-warp of a video, and decided that I wanted to hear it again. Since my then-fiancée was the manager of a music store, I asked her to special order the cassette for me, and a week or so later I had my first true listen of Tom Waits’ Swordfishtrombones, which some herald as his finest, most ground-breaking work.

My second hearing of “In the Neighborhood”, this time without the visual, gave me a stunningly different experience. I could concentrate on the lyrics, which paints a portrait a run-down corner of town, which the singer clearly cares about, perhaps for its very shabbiness. He delivers a long list of one-off lines that tug at your heart, like “The kids can’t get ice cream ‘cause the market burned down”, “The window is busted and the landlord ain’t home”, and “the jackhammer’s digging up the sidewalks again”. No context is given. It’s more like a list of headlines from the most local newspaper you can imagine.

The rest of the album, while never having two songs that quite copy each other in musicality, continue the general theme of the average American town that used to be glorious, and now is only a shadow of itself. Although the lyrics can be vague, it sounds like the twin specters of “progress” and the aftermath of war are the cause of it all. War especially… songs like “Shore Leave”, “A Soldier’s Things”, “16 Shells from a Thirty-Aught-Six” and the title track (which includes lines like “He came home from the war with a party in his head… and a pair of legs that opened up like butterfly wings”) all come off as the rambling memories of a man who has traveled the world, with the stipulation that he watch as all the foreign places he visits get razed to the ground.

By the time the introspective jazz instrumental “Rainbirds” closed the album, I was hooked. I immediately starting catching up with everything I had missed from the first twenty years of his musical career, backtracking through the jazzbo early years, through the hobo-with-his-own-orchestra middle, and beyond the transformation of Swordfishtrombones into a series of avant-garde theater projects and ever-more bizarre studio albums. I’ve loved hearing his voice grow younger and older at the same time, every gravelly note hinting at a world of experience. Tom has explained as a way of describing his musical style, “I like beautiful music that tells me terrible things.” Count me in.

SYZYGY - 11

INT. RESTAURANT - DAY

Inside is a small restaurant that continues the adobe/stucco style of the building’s exterior. It is empty but well-kept, with a tiny stage in the corner where a five-man jazz combo is playing a funky version of “Tequila”. An easel next to them reads “Appearing tonight: Frau Diablo.” Kara and Tom stops at the greeting area, where a placard on a stand states “Please wait for parrot”.

TOM

What does that mean?

They are both startled by a loud squawk from SIDNEY THE PARROT.

SIDNEY

Good afternoon! How many? squawk!

They stare, dumbfounded, at the parrot, who is perched on a small wooden railing that runs along the wall five feet off the floor. Sidney blinks patiently.

SIDNEY

How many? squawk!

TOM

Uh, two?

SIDNEY

Name?

TOM

Tom.

SIDNEY

Thank you! squawk!

Sidney waddles off sideways along the railing. Kara starts laughing. He disappears around the corner, and Tom and Kara watch as he hops down into the hostess’ podium. A WAITRESS is waiting there for him. She talks to the parrot quietly as Tom and Kara look at each other, amused.

SIDNEY

(in Tom’s voice)

Uh, two?… Tom.

WAITRESS

Thank you, Sidney.

She gives the parrot a small treat, which he crunches up immediately. The waitress grabs two menus and comes around the corner.

WAITRESS

This way, please.

TOM

(to Kara)

Go ahead and sit. I’ll be there

in a second. I have to…

Tom leaves as the waitress leads Kara to a small table. Across the room from the stage is a bar, lined with mirrors. A woman stands there, watching the band jam. She watches Tom head for the restroom, then looks at Kara studiously.

WAITRESS

I’ll put you over here, away from

the band. They’re just doing a sound

check, so they won’t be much longer.

KARA

Sure. That’s fine.

INT. RESTAURANT - MEN’S ROOM

Tom steps up to the sink, watching himself in the mirror. He washes his hands while studying his face, as if looking for something there.

TOM

What are you doing?

INT. JAKE’S CAR - DAY

A speedometer needle buried past 120. Jake keeps smiling as he roars through the countryside, the radio still blaring static. He’ll be entering the desert soon.

INT. RESTAURANT

Tom arrives at the table, where Kara is eating nachos and watching the band.

TOM

(gesturing to the food)

That was pretty fast.

KARA

Well, it’s not like they have much

else to do here.

Tom smiles, sits down, and becomes serious.

TOM

Kara, I know you don’t want to, but

we’ve got to talk about what we’re

going to do next. I mean, I’m not

regretting getting you out of there,

but we—

KARA

Well, we’re going to have lunch,

then get back on the road and keep

driving.

TOM

Right, but we can’t get away from

Raven. The car’s bugged, and she’s

not going to give up. I know her.

This is too important.

KARA

(trying to change the subject)

Look, what’s wrong with just eating,

driving until we get tired, and then

we can find a hotel somewhere and see

what happens next. Doesn’t that sound

romantic? Why do we have to plan

anything?

TOM

Kara, you’re not listening. There’s

nowhere safe for us to go. If we make

it to the coast we’ll be very lucky.

KARA

(starting to lose her composure)

Not only are you turning me down, but

both your wife and my husband want me

dead.

(starts crying)

And I didn’t even do anything!

Tom reaches across the table and places his hand on her arm.

TOM

I’m sorry. I’m not trying to upset

you. You just can’t block it out.

We’ve got to work this out together.

KARA

I wish I could just keep going and

going… Jake was everything I had…

everything I let myself have, anyway.

And now he’s gone.

Tom can see that she’s not going to be of any help at the moment.

TOM

We can at least enjoy our lunch,

okay? When we get back on the road,

then we can figure something out.

KARA

(wiping her eyes)

Yeah. Okay. I’ll be right back. I

just have to pull myself together

a little.

TOM

Sure.

Kara stands and heads for the women’s room. Tom picks up the menu.

TOM

(to himself)

Great, Tom. Super. Really fine job.

INT. WOMEN’S ROOM

Kara stands before the mirror just as Tom did, looking at herself. Her hair is limp, her mascara smudged. She sets about repairing the damage, digging around in her purse for makeup. A flushing sound comes from behind her, and the bartender steps out of one of the stalls. Her name is SHARON.

SHARON

Hiya.

KARA

(not looking)

Hi.

Sharon walks past her, opens the door. Just as she’s about to leave, she stops and turns back.

SHARON

Sorry, but do you want to talk?

KARA

Excuse me?

SHARON

You feel like you need to talk to

someone.

KARA

How could you possibly tell that?

Sharon comes back in, lets the door shut.

SHARON

Sometimes I can feel things. The

only people who come through here

are either on their way to something

big, or away from something big.

Usually I can tell what it is. I

can see a lot of things running

around in your eyes.

KARA

Does it look like I’ve got trouble?

SHARON

In spades. That must be one killer

of a date you’ve got there.

KARA

(quietly)

Hope not.

SHARON

Hm?

KARA

(faking a smile)

So far.

Sharon can tell that Kara doesn’t really want to talk, so she tries another approach, walking over to her as Kara starts fixing her makeup in the mirror.

SHARON

Look, if that guy’s messing with

you, I could go in back and get the

cook. He’s a pretty big guy…

KARA

No, it’s okay.

SHARON

If I’m overstepping, just say so.

But I get a strong feeling that

you wouldn’t be where you are now

if people didn’t butt into your life.

KARA

(warming up a little)

Amen to that.

SHARON

You’re gonna be okay. I know you are.

KARA

I hope so. I just really feel alone

right now.

SHARON

Well, that’s no surprise. If loneliness

has a capitol, you’re there.

(thinks for a moment)

There’s something you want from him,

something he won’t let you have.

KARA

Well, I told him I wanted to spend

the night with him, and he basically

turned me down.

SHARON

First time that’s happened?

Kara stops her makeup application and looks at Sharon now.

KARA

Yes.

SHARON

Well, that’s not always a bad thing.

I noticed you’re both married,

obviously not to each other. Might

not be a good idea.

KARA

But what for? His wife is some kind

of… I don’t even know. It’s just

been so long since someone wanted

more than this…

(gestures to her face and body)

He knows me. He really cares. I don’t

know how to react. No one’s ever…

SHARON

Seen you as something more?

KARA

Yes.

SHARON

Then you should trust him. And your-

self, too.

KARA

You think so?

SHARON

Absolutely. There are many ways

this can all turn out, but you’re

heading the right way.

It feels as though she’s seen what’s going to happen. Kara, for some reason, doesn’t question it.

KARA

I guess that’s what I needed to hear.

Thanks…

SHARON

Sharon.

KARA

Kara. Thanks.

They shake hands.

SHARON

That’s my job. You’ll be receiving

my bill.

Kara laughs a little, goes out into the restaurant. Something has bothered Sharon, though. She looks at her hand as if there’s something in it.

SHARON

But who is your husband? Why can’t

I see him?