MISSING - TRANSKRYPT ANGIELSKI
(Streets at night, Liz walking home)
VOICEOVER: It's funny how the world changes sometimes, how the streets you walked your entire life seem darker, colder. How the silence isn't so quiet anymore. How eyes you've barely even noticed now look at nothing but you. How the walk home every night is no longer routine, but a victory. And then you begin to wonder...maybe it's not the world that's changed. Maybe it's just you.
(Liz discovers her journal is missing)
VOICEOVER: And then, suddenly...you begin to wonder all over again.
(Liz at Maria's house)
MARIA: Liz, what's wrong?
LIZ: My journal's missing.
LIZ: Maria, I wrote everything in that journal.
LIZ: Things about Max.
MARIA: Personal things about Max?
MARIA: What?!? Like where he's from, what he is, I mean, what he isn't?
LIZ: I mean...everything.
(Michael wakes up suddenly and tries to draw the image he saw)
(Michael wakes up Max at 3 in the morning)
MICHAEL: Hey man, what's going on?
MAX: Since you asked, REM sleep. Please tell me this is important, Michael.
MICHAEL: It is. I dreamt it, Max. I've seen it more clearly that I ever have.
MICHAEL: This. It's what I saw that night at Valenti's office. When I touched the key, that's what I saw.
MAX: You saw a semicircle?
MICHAEL: No no no. I saw this, Max. This.
MAX: And what is this?
MICHAEL: I don't know yet. But I saw it. I didn't even remember until tonight. I had to tell somebody.
MAX: And I appreciate that I'm the one you chose to wake at 3 in the morning to tell that you've been dreaming about semicircles, but maybe we can talk about this in the morning?
MICHAEL: Yeah, ok. In the morning.
(Michael gestures to the floor)
MICHAEL: Would you mind?
MAX: No, no. Go ahead.
(Michael unrolls the sleeping bag and goes to sleep)
(Maria and Liz talking at school the next morning)
MARIA: What we need to do is reconstruct the crime.
LIZ: Reconstruct the crime?
MARIA: Motive and opportunity, Liz. That's the key. I mean, this is Roswell. You can't just ignore things like this.
LIZ: Look, I told you there was nothing unusual. I was studying with Alex yesterday and...
MARIA: Alex? Ok, ok, we have opportunity.
LIZ: Yeah, well, we were in my room and then he left and went home and...and...wait a second.
LIZ: Why am I reconstructing a crime when there is absolutely no crime to reconstruct? It's misplaced, Maria. It's not stolen.
MARIA: Yeah, until we ask ourselves, "Why would Alex want the diary?" Has he been feeling ignored, curious, asking questions we don't answer, seeking explanations we don't give? Come on. And what better way to find those answers than in your journal? Now that's a motive. Was he alone in your room?
LIZ: This is ridiculous.
MARIA: Liz, I'm your friend, ok? I'm just trying to help you out here. Ok, so was he alone? Alex? At any time?
LIZ: Well, yeah he was. I went to go get a soda.
MARIA: So he was alone...
(Alex walks up to Liz and Maria)
LIZ: Hi Alex.
ALEX: Uh, so what are we talking about?
LIZ: Nothing really important.
MARIA: Nothing important.
ALEX: Ah, nothing game again. Ok. Well, I just wanted to remind you about the McCarthy thing that we gotta do.
ALEX: The oral report.
LIZ: Oh yeah.
ALEX: So we should get together sometime and talk about that.
LIZ: Yeah, sure.
ALEX: So, I'm off to gym. Dodge ball. Ok, so...wish me luck.
LIZ: Good luck!
ALEX: Thank you very much.
(Alex walks off)
LIZ: How am I going to tell Max?
MARIA: My advice...over drinks.
(Max is having trouble with a vending machine)
LIZ: You hungry?
MAX: Oh, no. It's this machine. It's always acting up.
LIZ: Can I ask you something?
MAX: Sure, but I have to be honest with you, Liz. At this point, I don't think I have any secrets left.
LIZ: Look, Max...there's something that you should know because something happened...
MICHAEL: Hope I'm not interrupting.
LIZ: No, you're not.
LIZ: Um, it's nothing, Max. It's nothing important.
LIZ (TO MICHAEL): We...we just bumped into each other because I was walking this way from...and then he was coming that way, and we just...
MICHAEL: Interesting...bye, Liz.
(Liz walks off)
MAX: You said you'd be nicer to her.
MICHAEL: And you said you'd stay away from her. Let's call it even.
(Liz is sitting in a dark classroom thinking about what to do)
LIZ: Ms. Topolsky?
LIZ: Oh, um...yeah, I was...I was just leaving.
TOPOLSKY: Not on my account, I hope.
LIZ: Oh, no, not at all. I was...I'm just...late for something.
TOPOLSKY: Liz, I'm sure you have a fine reason for sitting alone in a dark classroom, but I wouldn't be much of a guidance counselor if I didn't ask what that reason is.
LIZ: Oh, it's nothing. Yeah...everything's great.
TOPOLSKY: Sometimes we think we're all alone, but we're not. There are people all around us willing and eager to help. Maybe I'm not the first person you'd turn to in a moment like this, but I want you to know I'm not only a guidance counselor.
LIZ: You're not?
TOPOLSKY: No, I'm also a friend...now, does that make it any easier?
LIZ: Oh...yeah...it does.
TOPOLSKY: Is everything really ok, Liz?
LIZ: Everything's great. Thank you.
(Liz leaves the classroom)
(Maria sees Alex walking in a hallway and walks up to him)
["Pick a Part That's New" by Stereophonics is playing]
ALEX: Maria De Luca, ladies and gentlemen. Where's Parker?
MARIA: Oh, Liz? I don't know. Anyway, she's dealing with some stuff, so...
ALEX: Let me guess...Kyle's making a pathetic attempt at regaining boyfriend status.
MARIA: No no. Nothing like that.
ALEX: Well, then what was it? Or is this one of these things that you can no longer talk with Alex about?
MARIA: Look, I...I know it must really bother you the way Liz and I clam up every time you come around.
ALEX: Yeah, it's a little annoying.
MARIA: Yeah, of course, and I'm sure it's our fault. I mean, actually...I know it's our fault and I just hope that...
MARIA: I just hope that it wouldn't cause you to do anything...you know...out of character...
ALEX: Ok, what are you talking about?
MARIA: Liz's diary is missing and...
ALEX: Wait...wait a second. Are you accusing me of taking Liz's diary?
MARIA: No no no. I'm not saying that at all. No. It's just that Liz and I were running through the facts of the case...you know, motive and opportunity...
ALEX: So Liz is accusing me?
MARIA: No no. That's not what I'm saying either. It's just that, based on certain factors, you emerge as a credible suspect...but I know that that couldn't be true, right? I mean, it couldn't, could it?
ALEX: Ok, you know what? The next time you and Liz feel the urge to share with me, you know...feel the impulse to really open up...do me a favor, ok? Let it pass.
(Alex walks off)
(Alex is at his locker and slams it very hard)
TOPOLSKY: That's school property, you know.
ALEX: Oh, Ms. Topolsky. I didn't know anyone was....I'm sorry about that.
TOPOLSKY: Actually, it's not the locker I'm worried about, Alex.
ALEX: Oh, me? Oh, no. You don't have to do that. I'm fine...really. I'm, I'm great!
TOPOLSKY: Alex, could I talk with you in my office for a minute?
(In Topolsky's office)
ALEX: No, it's just...you know, things change. People change. You accept it and you move on.
TOPOLSKY: Who's changed, Alex? You?
ALEX: No, not me.
TOPOLSKY: Your girlfriend?
ALEX: No, I don't have a...no girlfriend, Ms. Topolsky.
TOPOLSKY: Well, that doesn't surprise me. Teenage girls can never spot the good ones. I mean, look at Liz Parker...dating Kyle Valenti. He's a little obvious, don't you think?
ALEX: Yeah, well...you know, apparently Liz is going through some stuff right now, so...
ALEX: It's stupid. Liz loses her diary, and the next thing I know, Inspector De Luca tells me that they have me pinned as the main suspect. These are my good friends, you know?
TOPOLSKY: Would you like me to talk to them, Alex? Try to straighten this out?
ALEX: No no. It's ok. I can deal...well, anyway, I'm late for class, so...
(Alex leaves and Topolsky calls someone on the phone)
MAN ON PHONE: Control.
MAN ON PHONE: What have you got?
TOPOLSKY: Something interesting has happened. Any chance of sending me some backup?
(Michael shows up at an art class that he doesn't go to very regularly)
TEACHER: That's good, Kelly. Remember to maintain your perspective.
TEACHER: Mr. Guerin. To what do we owe this pleasure?
MICHAEL: What pleasure?
TEACHER: You, of course. I mean, it's Thursday, and I don't think I recall seeing you since Monday...of last week.
MICHAEL: Yeah, I'm sorry about that...but I kinda just really want to draw.
TEACHER: You kinda just really want to draw?
MICHAEL: Yeah...I didn't when they first made me take this class, but now I do. I'm just gonna take this easel here...
TEACHER: Keep your lines clean, Sydney.
(Kyle walks up to Liz and sits next to her)
LIZ: Hi, Kyle.
KYLE: So, you and Max Evans now?
LIZ: No no. We're...we're just friends.
KYLE: Oh, friends. Well, that is a popular position these days, Liz...isn't it?
LIZ: Look, Kyle. I know that you're angry with me, but this isn't easy for me either. If you could just like, try and understand...
KYLE: You know the best part about being broken up, Liz? I don't have to try anymore.
(Kyle walks off angrily)
(Max is looking at some books at the UFO center)
MAX'S BOSS: That's a good read.
MAX: Yeah, you know...I was, I was just looking...
MAX'S BOSS: Of course, Szcerbiak's theory that the military cover-up of the 1947 landing was financed by an international consortium lacks credible evidence to support it. Still, it debunks several fallacies that have long troubled me. But, if you're going to be working here, for my money, these are the books to read.
(Max's boss is flipping through books)
MAX'S BOSS: Walton...garbage. Ah yes, Atherton.
MAX: "Among Us"
MAX'S BOSS: A bit on the alternative side. Atherton had an underground following...never truly embraced by the mainstream, such that it is. But it may be of some interest to a true believer like yourself. Take a look. Let me know what you think. I know you want answers, Max.
MAX: Yes, I do.
MAX'S BOSS: Well, go ahead. We both know she's more interesting than I am.
LIZ: Hi...listen, can I talk to you for a second?
LIZ: Not here.
(Max and Liz go into another room)
MAX: So, what's going on?
LIZ: Um...not much, actually. You?
MAX: Not much. You know, we probably could have had this conversation out front.
LIZ: Yeah, right...um...we could have. Uh...there is actually one thing...what I didn't tell you before is, Max, um...I, I keep this diary.
MAX: Still not exactly back-room conversation, Liz.
LIZ: Well, it's actually more of like a journal. Because that's what scientists call their diaries. Look...anyway, in this journal, I generally write everything that happened to me. Everything important, anyways. And lately that seems to include quite a few things.
MAX: And one of those things would be about...
(Max gestures to himself)
LIZ: Yeah...right. So that kind of leads us to the problem...the problem being that that journal with the stuff about...that stuff about you and the shooting and that whole entire day and everything...that journal is kind of just...missing.
LIZ: Not missing.
MAX: Not missing?
LIZ: No, it's misplaced.
LIZ: Temporarily misplaced.
LIZ: No, I'm sure that there are...I'm sure that it's somewhere stupid, like under my bed or something.
MAX: What exactly did you write in this thing, Liz? How bad is it?
LIZ: I'm gonna find it, Max. So, just...don't worry about anything, ok? And tomorrow, after I've found it...we're gonna have a really good laugh.
LIZ: Just...give me one day, Max. Ok? And just...don't tell anyone, please. I promise you, Max, that I'm going to take care of it.
(Liz is frantically searching everywhere for her journal)
LIZ: Where is it? Where are you?
MRS. PARKER: Oh, there you are. Alex just called. Although I'm quite sure that you were in no great rush to speak with him.
LIZ: Um, how would you know that?
MRS. PARKER: How would I know what?
LIZ: That I might not want to speak with Alex. Why would you say that, mom? I've never even told you that.
MRS. PARKER: No, I guess you didn't.
LIZ: Mom, that's personal and private. I mean, have I ever even said anything to you about Alex or...or Alex and me?
MRS. PARKER: No, I don't recall you saying anything. You're right.
LIZ: I'm just saying, mom, that it seems a little strange that you would say something like that...you know, that you would...that you would conclude something that I've never even told you, that something that I've only even written...
MRS. PARKER: Is everything all right with you?
LIZ: Oh...um, yeah. Sorry...I've, I've just been edgy all day. Sorry.
MRS. PARKER: I'll see you later.
(Mrs. Parker leaves and Liz resumes her search)
(At Crashdown, Michael is drawing the sphere image)
["Take a Picture" by Filter is playing]
ISABEL: Michael, do you really think you should be doing that here?
MICHAEL: Doing what?
ISABEL: Drawing that thing...whatever it is...in public...here.
MICHAEL: It's getting clearer.
ISABEL: It's getting weirder is what it's getting. Max, will you please tell Michael this isn't a good idea?
(Max is busy reading a UFO book)
ISABEL: Max, you ok?
MAX: Yeah yeah. No, it's just Atherton. Listen to this. He says...this guy is nuts...that aliens wouldn't possess the lung capacity or brain capacity for more than short-term survival on Earth. Brain capacity???
ISABEL: Max, will you say something to Michael please? He'll listen to you.
MAX: Wow, that's getting pretty good.
MICHAEL: I've been working on it in art class.
ISABEL: Max, this isn't right. I mean, we're getting careless.
MICHAEL: Isabel, it's just a sketch, all right?
ISABEL: We can't keep pretending that what we do doesn't matter, that what we do isn't noticed, because it is. And if we're not careful, then...
(Kyle and group of friends walks into Crashdown, Kyle walks over to Max)
KYLE: I'm onto you, Evans.
ISABEL: What was that about?
MAX: I have no idea.
(Max goes to Liz's house and is a little panicked)
MAX: Kyle stole it. Kyle stole your journal.
LIZ: No, Max...don't go Maria on me, ok? It's not stolen, it's just...it's misplaced.
MAX: "I'm onto you"...just now, he looked right at me and said, "I'm onto you"...it means he read your journal, Liz. It means he knows about me.
LIZ: No, Max. It's not about the journal. It's about us, ok? Kyle thinks that you had something to do with our breaking up. And he's not a thief. You know, the journal has only been missing for one day. Kyle hasn't been in my house in over a week.
MAX: And the Crashdown?
LIZ: No, not there either.
(The door opens as Mrs. Parker comes back home; Liz pushes Max into her room so her mom won't see him)
MRS. PARKER: Hello?
MAX: Your room, huh?
(Max walks over to a table and notices a CD)
MAX: Good album.
(Max has a flashback of Kyle in Liz's room)
MAX: He was here.
LIZ: Who was here?
LIZ: No, Max. I told you. Kyle hasn't been here for over a week.
MAX: I saw him.
LIZ: You saw him?
MAX: I had a flash, Liz. When things get intense, heightened, sometimes we feel things...see things. He was here, Liz.
(Michael is enthusiastically working on his drawing of the dome)
["Novacane" by Beck is playing]
(Kyle is playing basketball with a group of guys...Liz walks up to him)
LIZ: I got the CD, Kyle. Thanks.
KYLE: Oh yeah? That's great. Your dad let me in.
LIZ: Kyle, I know when two people break up, it's...it's not easy. It's not as easy as they thought it might be, you know?
LIZ: You know, these people...they might say or do things that they don't mean, you know? Uncharacteristic things. Maybe they're just confused, you know? Looking for answers and reasons. Do you know what I mean?
KYLE: Yeah, I do. That's why I want you to know that you can ask me anything, Liz. I don't have any secrets from you.
LIZ: Is that what you think, Kyle? I have secrets? Do you think it's those secrets that broke us up?
KYLE: Well, maybe, Liz.
LIZ: So when you were in my room, alone, you had a chance to discover what those secrets were. Isn't that right?
KYLE: What? What are you so scared of?
KYLE: What secrets are you so afraid of me knowing? The truth about Max Evans? About why you've been so weird ever since that day at the Crashdown? Is that what your secrets are?
LIZ: Kyle, this is serious. What you have, I really need back.
KYLE: We all want something back, Liz. It's too bad life isn't always fair.
(Kyle walks off)
(At school, Michael's drawing is on display)
ISABEL: This isn't good, you know.
MAX: No, I see that.
MICHAEL: It's pretty good, huh? I didn't even know I could paint. But Mr. Cowan said it's the best thing that's come out of this class all year.
ISABEL: Michael, this isn't right.
MICHAEL: What isn't?
ISABEL: A public display...your thing just sitting here.
MICHAEL: This is not a thing, all right. It's...I'm not exactly sure what it is, but...
MAX: What Isabel is trying to say is that it's not a very good idea. It could be dangerous.
MICHAEL: Dangerous? How can it be dangerous? It doesn't mean anything to anyone, including myself.
MAX: But Michael, that's not really the point. The point is, we shouldn't be taking chances like this.
MICHAEL: You did.
MAX: Yes, I did. That's right.
MICHAEL: But, what? You can take chances and I can't? You can roll the dice with our lives, but if anyone else does, I mean...God forbid, you know...
MAX: I saved someone's life, Michael. I wasn't dabbling in the arts.
(Michael walks off)
(Topolsky and some agents have a meeting)
TOPOLSKY: I think Liz Parker's diary provides one of the most compelling leads I've ever encountered since I joined the unit.
AGENT: Wait a second...I cut my vacation short for a diary?...ok, sorry.
TOPOLSKY: This is not just a diary, agent. This is potential proof of alien contact. Not from a crackpot farmer or a drunk somewhere, but from a straight A student. Treasurer of the Roswell science club.
AGENT: So, uh...any idea where this diary might be?
TOPOLSKY: I think I do. This is where we should get started. She's been having a problem with her boyfriend.
(Liz is at Valenti home)
MAX: Hey, I'm here if you need me.
LIZ: Kyle? Sheriff Valenti?
MAX: Someone should tell the sheriff that deadbolts don't work as well when you leave your door open.
LIZ: Max, we shouldn't be in here.
MAX: You're right, so let's make this quick. Which way is Kyle's room?
MAX: Look, we'll get in, we'll grab your journal, and we'll get out. And in the process, we'll save my life. So which way is Kyle's room?
(Someone else is in the house, probably one of the agents)
(Max and Liz goto Kyle's room and start searching)
MAX: You start in the closet. I'll start here.
MAX: It's not in here. Any luck?
(Max finds a picture of Kyle and Liz hidden under the bed)
LIZ: It's not in here, Max. Look, maybe Kyle doesn't have it.
MAX: You mean, maybe Kyle doesn't have it anymore.
(A shadow passes by)
MAX: Wait here.
(Kyle comes back home)
LIZ: Max, it's Kyle.
MAX: Come on, let's go.
(Max and Liz leave out the back)
(In art class)
TEACHER: I see you've chosen your favorite subject.
MICHAEL: Yeah, you know I just can't seem to get it out of my head.
TEACHER: Yeah, I see. That's quite good, Michael. It is.
MICHAEL: Thank you.
TEACHER: But don't you think it's time you drew something else?
MICHAEL: Something else?
TEACHER: Well, when the class drew fruit, you drew this. When the class sketched the human form, you drew this again. You're a talented artist, Mr. Guerin. But you can't go through the semester drawing only a geodesic dome.
MICHAEL: A what?
TEACHER: A geodesic dome. Perhaps before your time. It's a type of house, architecturally postmodern.
MICHAEL: A house...
TEACHER: As I was saying, Mr. Guerin, an artist of your ability can draw something else...something besides this. Perhaps...
(Teacher gestures to a statue that the rest of the class is sketching)
(Michael complies and draws a stick figure)
TEACHER: Stick with the dome.
(Max, Isabel, and Michael outside at a picnic bench)
MAX: Michael's painting isn't our biggest problem right now.
ISABEL: Does that imply that there's a problem I'm not aware of?
MAX: But before I tell you, you need to know that...it's not Liz's fault. You see, Liz keeps a journal. Everything that happens to her, she writes down. Including that day at the cafe...what I did...who I am...who you are...
MAX: But you can't blame her, all right? You've got to promise me...
MICHAEL: Blame her for what?
MAX: For losing her journal...
ISABEL: Oh, my God.
MAX: I know it sounds bad, but it'll turn up. I know it will. But until then, I'm handling it. Michael, did you hear what I said? Michael?
(At Crashdown after hours)
["Torn" by Creed is playing]
LIZ: Sorry, we're closed.
LIZ: Michael...um, I'm sorry, the kitchen's closed.
MICHAEL: That's all right. I just ate.
LIZ: Um, you know, actually this is for employees only.
MICHAEL: Max told me what happened.
LIZ: Oh...he did?
LIZ: What did he say?
MICHAEL: He said you wrote it all down, Liz.
LIZ: He said that?
LIZ: What do you want?
MICHAEL: I want you to know it wasn't smart to write all those things down, Liz.
LIZ: Yeah...I know that now.
MICHAEL: I knew it a week ago.
LIZ: Excuse me?
MICHAEL: That was the night I sat at the first booth. Maybe you remember.
(Flashback to a week ago)
MICHAEL: It was late like tonight and you were at the counter...writing.
LIZ: Uh, yeah...a little bit.
MICHAEL: But it wasn't homework, was it?
LIZ: No, it wasn't.
MICHAEL: You could have put us in an awful spot, Liz. Roswell's not exactly the town you want to be unique in, if you know what I mean. You have to know who your friends are.
MICHAEL: I had to know the risk...so I had to know what your journal said.
LIZ: You took it...
MICHAEL: I never meant for things to get out of control...it's nice to know we have at least one friend in this town.
(Michael gives the journal back to Liz)
LIZ: Does Max know that you...
MICHAEL: No...and you know what would be really great? If you didn't tell him.
LIZ: But why didn't you just destroy this, Michael? Because anyone that found this would know all about you.
MICHAEL: No...they'd know all about you, Liz.
MICHAEL: Thank you for giving me one more reason to envy Max Evans.
(Michael turns to leave)
MICHAEL: And you might want to get better window locks...for when your criminals happen to be human.
(Liz clutches her journal to her chest and walks off)
(Liz goes to UFO Center to find Max)
MAX: Oh, hey.
LIZ: I seem to be finding myself here quite a bit lately.
MAX: Maybe you'd be interested in the season pass. $19...it includes the guided tour and a box lunch.
LIZ: Everything's ok, Max. I have my journal.
MAX: You found it.
LIZ: I guess you could say it found me. I left it at the Crashdown and a customer returned it.
MAX: A customer?
LIZ: A friend...a good friend.
LIZ: Uh...look, Max, now that this is all over and everything, I feel I owe you an explanation to why I wrote those things.
MAX: No, you don't.
LIZ: No...I know you think that I was foolish, you know, to write about that day and you and everything. What I wrote in my journal, it didn't really have anything to do with science. Um...that day that you saved me, I felt something that I just had to put into words...so years from now, if anyone ever...if anyone ever touches me the way that you did, I'll know what it's supposed to feel like.
MAX: So, can I see it? What you wrote?
LIZ: Oh...yeah, I don't...I don't think that's a good idea.
MAX: Why? Because if I read what you wrote in your journal, I realize how you really see me.
(Outside at picnic benches)
ISABEL: I can't believe you're still reading that.
MAX: Guilty pleasure.
(Isabel gestures to Michael who's lost in thought)
MAX: Michael, you ok?
MICHAEL: Yeah. I just wish I had a few more answers. The dome, you know? I mean what's the point of having a vision if it doesn't mean anything?
MAX: Patience, space boy.
ISABEL: You're in an awfully good mood...does this mean that the diary...
MAX: Safe and sound.
ISABEL: So where was it?
MAX: Liz wouldn't say. She said a good friend brought it back. Anybody want anything?
MICHAEL: I'll go with you.
ISABEL: No thanks.
(Isabel flips through the book Max was reading)
(Isabel drops the book and it opens up to the last page with a picture of the author in front of his house, a geodesic dome)
ISABEL: Max. Michael.
MAX: What's the problem?
ISABEL: This. Michael, it's your vision.
(Late at night, Liz is walking home)
["Colorblind" by Counting Crows is playing]
VOICEOVER: October 28th. I've missed a few days. But in my absence I've been thinking about some things, about life before Max Evans saved me, of how I used to pray for something to happen, something to just break the routine, you know, of school and work...something that would make a small town feel bigger, that would make a small town girl feel bigger, too. And ever since I got my wish and Max Evans patched a bullet hole 2 inches below my ribs, I realized one thing...that the bigger your world gets, the bigger your problems get, too.
(Scene fades out as Liz hides her journal behind a loose brick in the wall)