valenti is working on a stack of paper work when he hears a conversation just outside his OPEN door.
MAN'S VOICE: (loud enough to carry) Excuse me. I'm looking for a broken-down old warhorse who somehow managed to make sheriff in Roswell, New Mexico
Valenti recognizes the voice. Puts down his pen and sits back, half-amused, half-annoyed.
HANSON'S VOICE:: Uh... Sheriff Valenti is...uh...in his office--
VALENTI: Hanson! send that sanctimonious paperpusher in here before I have him arrested for vagrancy!
The door pushes all the way open and HANSON sets in a tall, confident man Valenti's age, DAN LUBETKIN. They're friends, but not buddies. Come up through the ranks back in the day. The friendship is expressed through mostly good-natured insults and ribbing, but there's also an undercurrent of genuine competitiveness underneath it. Hanson exits.
LUBERTKIN: Dam, son. You are getting old!
VALENTI: Real police work'll do that to you, Dan. You should try it some time!
LUBERTKIN:Now THAT hurts. (extends hand) Long time, Jimbo.
VALENTI: (Shakes his hand) Too long. (beat) So. Not a social visit I take it?
The two men sit down.
LUBERTKIN: State police board wants to review the Hubble shooting.
VALENTI: Hubble? That was an open and shut case. Crazy old man with a gun out in the desert. It was over a year ago, why investigate it?
LUBERTKIN: (shrugs) The wheels of justice grind slowly.
Valenti sits back, regards him for a beat.
VALENTI: Do I need a lawyer?
LUBERTKIN: Whoa easy. No need to get all riled up.
VALENTI: It was a clean shoot, Dan.
LUBERTKIN: If you say so. Now, what say we pull of the procedural 'til tomorrow, pull that wild Turkey outta top cabinet dawer and tell outrageous lies about the good old days. (beat) Come on.
Valenti finally relents, takes out his keys and moves to the file cabinet.
VALENTI: Its the second drawer, you feeble minded excuse for a cop.
Valenti unlocks the cabinent, OPENS the second drawer, pulls out a bottle of Wild Turkey, and we....
CUT TO:
INT. EVANS HOUSE- KITCHEN- NIGHT 2
ISABEL sits at the kitchen table, watching a small TV sitting on one of the counters. MAX sits next to her, eating dinner and trying to watch something---anything.
ISABEL: There's nothing on.
MAX: We must get fifty channels
ISABEL: Crap. Crap. Boring. Crap.
She gets up to leave. Max begins surfing the channels on his own.
ISABEL (cont'd): Think I'll go for a stroll.
She heads down the hall.
MAX: Haven't u been overdoing that lately?
ISABEL: Take it easy. It's harmless.
MAX: (calling after her) It's just not a nice thing to do. (then, louder) Stay away from Liz, please.... (off her silence) ...Isabel?
INT. ISABEL'S ROOM-- NIGHT 3
...Where we see ISABEL curled up with her yearbook. She turns the page and comes across pictures of Liz, Maria, and Kyle. She closes her eyes. FLASH, FLASH:
INT. CRASHDOWN CAFE-- DAY (DREAM) 4
Isabel watches from the booth as LIZ works the cafe alone.
A strikingly good-looking man (20s) ---BRAD--- ENTERS the cafe. Liz recognizes him, smiles fetchingly
BRAD: Hello, Liz
He walks up to her, sweeps her up in his arms, lies her back on the counter.
ISABEL: Not bad, Liz. Didn't think you had it in you...
LIZ to Brad) Would you like...fries with that?
BRAD: I know what I want.
He leans down to kiss her, but before their lips touch...
NEW ANGLE
MAX has suddenly replaced Brad. He's inches from kissing her.
MAX: Isn't this what you really want?
Liz isn't shocked by the sudden change, accepts it in a dream logic. They stay close.
LIZ: yes...NO, I don't want this...
MAX: Now you're lying to yourself.
NEW ANGLE
Now Brad is standing on his feet, cradling Liz in his arm. Max stands in front of them both, arm crossed, SHIRTLESS.
LIZ: I don't care. I'm with Brad now.
MAX: Brad doesn't even exist. Besides, you want someone who can do this...
He flicks a finger and rose petals begin to rain down gently. (AWWWWW)
LIZ: Brad...take me away....please....
NEW ANGLE
Now Max is cradling her in his arms, Brad is GONE.
LIZ: (cont'd) Oh God...
Isabel yawns.
ISABEL: Even her romantic dreams are boring.
INT. ISABEL'S ROOM -- NIGHT 5
Isabel rouses herself from slumber, turns over, bleary-eyed, and seeks out another photo in the yearbook.
ISABEL: (closes her eyes) Kyle has to have more interesting dreams than that...
And we FLASH to...
EXT. HIMALAYAS -- DAY (DRAM) 6
Isabel watches as a shirtless Kyle sits with a rotund, robed bald man --- BUDDHA, himself --- on a mountaintop. They are both in the lotus position.
BUDDHA: Remember, young blossom, my most important words...
KYLE: Yes, Master?
BUDDHA: "To thine own self be true."
ISABEL: (hello?) Shakespeare.
BUDDHA: With every inhale, find the center of yourself. With every exhale, release the ties that bind your energy.
Kyle closes his eyes, does the breathing exercise...
Something BEEPS.
BUDDHA: Excuse me.
Kyle pries open one eye and BUDDHA whips out a futuristic DEVICE -- an alien communicator.
BUDDHA: (cont'd) (to communicator) Buddha here, Yes? (urgent) When?
Buddha gets to his feet, suddenly ass business. Kyle's getting worried.
BUDDHA: Prepare the ship. Stand-by the beam us aboard.
KYLE: Master....?
Buddha lifts Kyle to his feet.
BUDDHA: Our enemies have arrived, Kyle. We must leave Earth and face the Dark Legion.
KYLE: No-no-no-no-no-no-I'm here in inner peace, not this science fiction crap.
Buddha pulls out a ray gun.
BUDDHA: Max Evans changed you when he saved your life. You know that. You're and alien now, Kyle. Accept you destiny.
KYLE: No, I'm not! He points a finger at Buddha for emphasis and is horrified to see that his hand is now MOTTLED GREEN, with extended fingertips.
KYLE: (cont'd) NOOOOOOOOOOOOOOOOOOOO!!!
Isabel rolls her eyes.
ISABEL: Oh, please.
Suddenly -- FLASH.
EXT. WOODS -- NIGHT (DREAM) 7
This middle of nowhere. Isabel looks around, increasingly concerned.
ISABEL: Where am I? Kyle...? Whose dream is this?
A bloodcurdling scream turns her attention to a distant plane, where she sees something that wasn't there before: A FIGURE, dragging a large sack across the ground. Before she can investigate, she's overwhelmed by IMPERSSIONISTIC FLASHES:
A GIRL'S HANDS 8
....bound by duct tape....
A CAR TRUNK 9
...as somebody looks up, only to see a silhouette slam it shut.....
A GIRLS MOUTH 10
...as hands reach up and pull off the duct tape that covers it. The girl screams...
MISSING GIRL: HELP ME!!
INT> ISABEL'S ROOM -- NIGHT 11
...and Isabel bolts awake, gasping from her won fear.
END OF TEASER FADE OUT
--------------------------------------------------------------------------------
ACT ONE
FADE IN:
INT. VALENTI'S OFFICE -- DAY 12
Max and Isabel recount her tale in front of a confused sheriff.
VALENTI: So let me get this straight, You can go into people's dreams?
ISABEL: Yes. But usually I choose whose reams I go into. This one came to me.
VALENTI: Well, how do you know this was real and not just someone's nightmare you stumbled into?
ISABEL: I don't. But it felt real. Like this girl was in trouble
Valenti's gaze turns to Max.
MAX Sheriff, when Tess was being tortured, Isabel got flashes from her. She KNEW that Tess was in danger. That's how we saved her life. We should check into this.
VALENTI: It's hard to look for a missing girl without a name or a face.
A cursory knock at the door, then Lubertkin pokes his head in.
LUBERTKIN: Hey. Senor Chow's for lunch?
VALENTI: Uh...that'd be fine.
LUBERTKIN (eyes Max and Isabel) Hi.
MAX:Hi.
VALENTI: See you at one, Dan.
Lubertkin regards Max and Isabel before he leaves. Max turns to the Sheriff
MAX: Who's that?
VALENTI: He's from the state police board. Reviewing the Hubble case.
MAX: (worried) Hubble?
VALENTI: It's no big deal. Dan's an old friend. (to Isabel) I'll look into it. Okay?
ISABEL: Thank you.
As she and Max exit, we.......
CUT TO:
INT. CRASHDOWN CAFE -- DAY A13
Breakfast is still being served. Kyle and TESS are sitting in one of the booths. Tess is pouring Tabasco (with stopper removed so it will POUR) onto a stack of strawberry pancakes, already will high with whipped cream. Kyle hasn't touched his omelet.
KYLE: That's a real...alien thing, isn't it? Very sweet and very spicy.
TESS: Yep.
KYLE: Can I... try a bite?
TESS: (shrugs) You wont like it.
KYLE: I hope not.
He takes a big forkful and eats it.
KYLE: Oh my God.
TESS: Told you.
KYLE: No, it's... not completely horrible. It's almost...tasty
TESS Have some more.
KYLE: NO! No, this is so wrong... I'm not ready for this.
TESS: For what?
KYLE: The change. I'm not ready to be a half-human, half-alien freakaziod.
TESS: We prefer the tem HYBRID.
KYLE: I'm serious. I never bargained for this. One minute I'm a normal guy with my whole life head of me, and the next thing I know Max Evans transmogrifies me into something not of this earth.
GABBY's NOTE: ok sorry to interrupt! but I mean COME ON de ja vu! "we prefer the term..." "into something not of this earth..." eeeek lol just had to share!
TESS: Trans-what?
KYLE: I didn't ask for this.
TESS: I suppose he could've let you die. Is that what you want?
KYLE: If I had died, I would've been transcended the mortal plane and been reincarnated into the next stage of my life.
TESS: Reincarnated as what?
KYLE: Another person...or an animal, maybe.
TESS: An animal? Like you could've ended up as a gopher or something? (she should say gerbil LMAO)
KYLE: We're getting off the point here. I need some help with this!
TESS: What do you want from me? I don't know what's going to happen to you. Maybe NOTHING is going to happen. Or maybe you're going to develop superpowers and start flying around Roswell with a big cape. I DON'T KNOW!
She goes back to her pancakes. Kyle sits back for a beat, not satisfied, but not sure what to do next. He eyes her pancakes.
KYLE: Can I have another...?
TESS: No.
She keeps eating and he tries to calm himself, but it's not easy.
CUT TO:
INT. SENOR CHOW'S -- DAY 13
Lubertkin and Valenti plow though a healthy serving of Mexican food. Lubertkin has a yellow pad and a police file near him on the table, but her baely taking notes.
VALENTI: ...When I ordered him to put his gun down, he refused. He brought the weapon up, I felt my life was in imminent danger, so I fired.
LUBERTKIN: Mm. Just like it says in you report. (to waiter) Can we get some more sweet and sour tortillas? (to Valenti) So. Who where those kids in you office this morning?
VALENTI: Nobody. Stolen bike.
LUBERTKIN: What were their names?
Valenti hesitates, but he has nowhere to go.
VALENTI: Max and Isabel Evans.
This registers with Lubetkin. He picks up the file.
LUBERTKIN: Max Evans. I have a statement here that says Hubble was last seen in a car with Max Evans before the shooting.
VALENTI: Whose statement?
Lubetkin measures Valenti's tone.
LUBERTKIN: Was Max Evans out there that night?
VALENTI: No.
LUBERTKIN: Ok, Jim. That's all I need to hear.
SCENE 14 OMITTED
SCENE A15 OMITTED
INT. CRASHDOWN CAFE -- DAY 14 Liz is carrying an armful of plates heaped with food to some patrons in a booth. MARIA is taking an order right behind her.
LIZ: Okay...Saturn rings, Galaxy Sub, hold the Max...
Both Liz and Maria react to what she just said. Liz grabs Maria by the arm.
LIZ: (cont'd) I'll be right back with our Cokes.
She steers Maria back to the counter. As they cross...
MARIA: Okay, what's going on?
LIZ: (quiet but upset) I need help! I'm sick! I'm an obsessed person! (ARENT WE ALL!)
She starts filling glasses with soda.
MARIA: Is this just general freakout of....?
LIZ: I have Max on the brain! I dream about him! I think about him! Now, I'm saying his frickin' name without even realizing it! What's wrong with me?
Maria reaches up and stops Liz, who now has eight glasses of Coke in front of her.
MARIA: You're in love.
LIZ: I know that! But it's not getting me anywhere!
MARIA: Come on, girl. Chill... it's not that bad.
LIZ: Not that bad? --- LOOK AT THIS!
She pulls out photos of Max out of her uniform (ok where the HELL did she get these?)
LIZ: (cont'd) Obsession! Obsession! Obsession!
MARIA: Okay, okay. You're a...Max-aholic. I'm here for you. What can I do?
LIZ: GET ME A LIFE!!!
Maria scribbles it on her order pad as Liz bangs her head against the counter. The front door OPENS and Maria reacts.
MARIA: Oh, you gotta be kdding.
Liz looks up to see....
SCENE C15 OMITED
SEAN DELUCA
ENTERS the diner. Sean is punk. 18 years old. Bad news. Bad clothes. Bad attitude. The exact antithesis of MAX. Of course Liz is attracted to him.
(PIC OF SEAN PLAYED BY DEVON GUMMERSAL)
MARIA: (cont'd) When did you get out?
SEAN: This morning.
MARIA: You didn't break out, did you?
SEAN: Early release. Good behavior.
MARIA: That'd be a first. You don't think you're staying with us.
SEAN: Aunt Amy already gave it the thumbs up.
MARIA: She is such a soft touch.
SEAN: Hey, Liz.
LIZ: Sean.
SEAN: All grown up. Like it. (to Maria) See you at home.
Sean EXITS again. Maria can't believe it. Liz can't believe it either, but for different reasons.
MARIA: It's not your home!
OFF Liz, who suddenly has something new to think about.
INT. EVANS HOUSE -- KITCHEN -- NIGHT 15
Max enters to find GRANT watching TV. There's definitely no love lost between these two.
MAX: Grant.
GRANT: Hey, Max.
MAX: You're uh...?
GRANT: Waiting for Isabel
MAX: Right. I'll go check on her.
GRANT: Thanks.
INT. ISABEL'S ROOM--- NIGHT 16
Max comes in on Isabel, who crosses back and forth, going though her wardrobe.
MAX: You know Grant's waiting downstairs?
ISABEL: I know.
MAX: Do you really like that guy?
ISABEL: Max, don't start, okay?
MAX: What's wrong?
Isabel keeps looking through her clothes, almost desperate.
ISABEL: I can't stop thinking about that girl, that's all. It was different...like...she was dreamwalking me.
MAX: You mean, she's .... an alien?
ISABEL: No. I...don't think so.
Max takes this news in carefully.
MAX: Maybe you should cancel your date.
ISABEL: You know how many times I've cancelled with him in the last month? I'm running out of excuses.
MAX: Tell him the truth-- you've been battling evil aliens for control of the planet and it's hard to fit him in.
ISABEL: Funny. (beat) I want to have a normal night out with a normal guy. (grabbing an outfit) Tell him I'll be ready in five minutes.
CUT TO:
INT. VALENTI HOUSE -- NIGHT A17
Kyle sits on the couch, staring down at his hand, the memory of the dream still with him. He points his hand at the TV (which is OFF), concentrates....TESS ENTERS in the back ground...stops...watches Kyle as he concentrates on the TV.... then grins and picks up the remote control and TURNS ON the TV.
KYLE: OH MY GOD!!!
Tess grins wickedly. Kyle points his hand at the TV again.
KYLE: (cont'd) ESPN...
Tess changes the channel.
KYLE: (cont'd) HBO!
She changes the channel.
KYLE
cont'd) PLAYBOY TV! (if Kyle was really serious about Buddahism he wouldnt have
picked THAT channel but hes still a guy! LMAO) KYLE: (cont'd) I have become...
He suddenly sees Tess out of the corner of his eye.
KYLE: (cont'd ...an idiot.
TESS: But a cute one.
She tosses him the remote and EXITS.
INT. MOVIE THEATER --- NIGHT 17
Grant and Isabel are sitting in the theater. She's tired. Stretches her neck.
GRANT: (sotto)---(wtf does that mean?) Sore?
She nods and he rubs her neck for a second.
ISABEL: (sotto) Thanks.
He takes the opportunity to leave his arm around her shoulders. She snuggles up, puts her head on his shoulder. Grant smiles and softly strokes her shoulder. He looks over and discovers that...
She's asleep. Disappointed, he turns his attention back to the movie. But we stay on Isabel and FLASH...
SCENE 18 OMITTED
EXT. WOODS -- NIGHT (DREAM) 19
...and Isabel stands in the forest once more. She can barely make out more detail as to where she is. But she's also closer to the figure as he drags his bad, which looks more and more like a body bag. FLASH:
Isabel stands several feet away where she sees a young woman approaching her car. Isabel still can't make out the woman's face, but she spots a man in dark clothes and a hood approaching from behind.
ISABEL: Look out!
Isabel tries to run, but she doesn't get any closer. The assailant overpower the woman. Drags her into darkness.
ISABEL: (cont'd) no!
SCENE 21 OMMITED
MISSING GIRL'S POV 22
...as the hooded Kidnapper ties off her arm with a rubber hose. He prepares a hypodermic needle with a milky liquid. We have absolutely no bearing as to where we are, but we hear the ragged, terrified breathing of the girl.
MISSING GIRL (O.S)---(wtf?) You don't have to do this....please....
The Kidnapper plunges the needle into the girl's taunt vein. The girl screams and....
INT. MOVIE THEATER -- NIGHT 23
...ISABEL bolts out of her seat, screaming with her. Grant and the rest of the moviegoers stare at her in surprise.
GRANT: You okay?
ISABEL: (Obviously not) I'm fine...
And we take a HARD CUT TO:
INT. VALENTI HOUSE -- NIGHT 24
...where Valenti is facing a very agitated Isabel. Max is nearby.
ISABEL: I need to fine her. She's in trouble, she's going to die.
VALENTI: I thought you weren't sure if--
ISABEL: --It's real, Sheriff. I know it. It's happening.
Valenti looks to Max.
MAX: We have to find her.
VALENTI: Find who? There's no missing girl. No one's been reported. We don't know what she looks like. I have no leads.
ISABEL: I saw her car. It was silver.
VALENTI: Did you see the plates?
ISABEL: No. It was a Honda--- or a Toyota. I'm...not good with cars.
Valenti takes a couple of steps around the room.
VALENTI: Okay, I guess I could...start looking through the abandoned vehicle repots... see if it's turned up anywhere...
ISABEL: THank you. Sorry, for....barging in like this.
VALENTI: It's all right.
Isabel EXITS. Max hangs behind for a second.
MAX: I know how it must sound, but....
VALENTI: I believe her, I do. I just don't know how realistic it is to think that I can find a girl on this kind of evidence.
Max gives him a smile and then EXITS. Valenti picks up the phone, dials a number.
VALENTI: (cont'd) Hanson? I'm coming in.
CUT TO:
INT. CRASHDOWN CAFE -- NIGHT A25
Valenti's placing an order with a Waitress.
VALENTI: Large coffee and Work Wrap to go.
A middle-aged woman, JUDITH FOSTER is paying her tab.
JUDITH FOSTER: Working late, Jim?
VALENTI: Yeah.
JUDITH FOSTER: Great match your boy had the other night.
VALENTI: yeah-- two take-downs. Not bad.
JUDITH FOSTER: Just like his father. Remember that match against the Rangers?
VALENTI: How do you remember that kind of thing?
JUDITH FOSTER: I had a crush on you. Or didn't you notice?
VALENTI: I noticed your boyfriend.
JUDITH FOSTER: (smiles) I like to call him my husband now.
The Waitress gives JUDITH her change and Judith leaves a tap/
VALENTI: How's your girl?
JUDITH FOSTER: Melissa's fine, just fine. (checks her watch) I think.
Judith hesitates just enough for Valenti's cop instincts to kick in.
VALENTI: Something wrong?
JUDITH FOSTER: Oh, I'm sure it's nothing. She went to go visit some friends in Santa Fe yesterday and she hasn't called home yet. I know I shouldn't be concerned, but...she always calls. Oh. I'm just being silly.
VALENTI: Melissa...drives a silver car, doesn't she?
JUDITH FOSTER: (nods) Toyota. Why?
Off Valenti makes a dark and chilling connection, we....
SCENE 25 OMITTED
FADE OUT
END OF ACT ONE
--------------------------------------------------------------------------------
ACT TWO
FADE IN:
INT. SHERIFF'S STATION --- DAY 26
The station has transformed itself into a hurricane of activity. Different deputies come up to Valenti as he rattles off orders.
VALENTI: (to one deputy) Have we contacted all the Foster girl's friends yet? We need to know if she turns up. (to another deputy) Get on the horn with Highway Patrol. I want every inch of the 285 covered. (to a third) Here are the plates to the car. Run them.
Sitting on a chair, in the eye of the hurricane, is Judith.
JUDITH FOSTER: She had...an over night bag....a cosmetics case....
HANSON: Does she have a cell phone?
JUDITH FOSTER: No. I.... (voice catches) I took it away from her ... she'd been spending to much....money...
She looks away, wracked with guilt. Lubertkin enters the station, goes to Valenti.
LUBERTKIN: How's it going?
VALENTI: Busy. (to deputy) Where's that picture?
The Deputy scurries away.
VALENTI: (cont'd) What's up?
LUBERTKIN: Heard about the missing girl. You're really circling the wagons here.
The Deputy returns with the PICTURE of Melissa Foster as Valenti reaches the door of his office.
VALENTI: Just doing my job. Excuse me.
That's Lubertkin's cue to leave. He doesn't take it. Instead he notices that all the blinds to Valenti's office have been drawn.
LUBERTKIN: Who you got in there?
VALENTI: Potential witnesses.
Judith hears this and is on her feet.
JUDITH FOSTER: Witnesses? To what? Someone saw Melissa?
VALENTI: POTENTIAL witnesses. Just some preliminary questioning.
JUDITH FOSTER: Who are they? Where did they --?
VALENTI: Judith. You have to trust me here. I'll let you know the second I have something solid to go on. For now, just let me do my job okay?
JUDITH FOSTER: (deep breath) Okay....
Hanson guides her back to the chair. Lubertkin shoots Valenti a curious looks a Valenti EXITS to...
INT. VALENTI'S OFFICE --- CONTINUOUS 27
....where Max and Isabel are waiting. Valenti hands the picture to Isabel.
VALENTI: This her?
ISABEL: (inspecting the picture) the hair's right....I think it's her...
MAX: Are you sure?
ISABEL: I....I never saw her face ... but....it's her. It has to be.
VALENTI: I hope you're wrong. I've known the Fosters for years.
Max looks over Isabel's shoulder at the picture.
MAX: I don't recognize her.
VALENTI: She goes to Goddard High.
Isabel holds the picture as if she was trying to get a reading from it.
ISABEL: Her pain -- her terror. I felt it so clearly in the last dream. (beat) We have to get her back. I need to.
Valenti looks at her, surprised at her passion.
VALENTI: You and me both.
CUT TO:
SCENE 28 OMITTED
CUT TO:
SCENE 28 OMITTED
INT. CRASHDOWN CAFE -- DAY A29
Maria brings a burger and fries to Sean's table, but doesn't set it down. Liz is working in the background.
MARIA: I don't know if I made this clear or not, but you dine and dash here? You die.
Sean reaches into a jacket pocket, pulls out a couple of balled up bills and an odd amount of changed and drops them on the table. Maria eyes the cash for a beat.
MARIA: (cont'd) Is there a tip in there?
SEAN: Just gimme the burger.
She sets down the food and slips into the seat across from him. Sean promptly begins disassembling the burger, removing offending items like pickles, etc.
MARIA: How 'bout a little talk?
SEAN: Mm.
MARIA: We have rules at our house. Strange, bizarre, unimaginable as they may seem to you, we live our lives by these very simple rules.
Sean begins banging the ketchup bottle on the table. trying to get the flow going.
MARIA: (cont'd) Rule one: toilet seat is left DOWN. Rule two: underwear is not left on the floor. Rule three: milk is poured into a glass not consumed directly from the carton.
She grabs the ketchup bottle, gives it an odd twist and a shake -- voila, the ketchup flows.
MARIA: Rule Four --
SEAN: There a lotta these rules?
MARIA: Don't worry, I'll write them down for you, assuming you can read. But rule four is very important: LEAVE LIZ ALONE.
SEAN: She part of the house or something?
MARIA: I'm not kidding. She's off-limits to you. Way, way off-limits.
He's eating his burger, could care less about her warnings (ever wonder how liz and maria have the time to just sit down and chat when they're working?)
MARIA: (cont'd) I saw the way you looked at her. "all grown up. Like it." It's not gonna happen, Sean.
SEAN: Okay.
MARIA: She's in a very....fragile and delicate state of mind.
LIZ'S VOICE: DAMNIT EDDIE!!!!! WHERE'S MY ORDER!!?
Sean gives Maria a look, but Maria is unfazed.
MARIA: I'm serious.
SEAN: I hear you, all right? Leave her alone. I get it. What do you want from me?
MARIA: You'll have the list by the end of the day.
Maria goes back to work and Sean applies himself to his food.
Liz walks by, carrying two armloads of plates and despite Maria's warnings, Sean can't help but follow her legs with his eyes as she moves through the cafe. He looks away.
Liz unloads the plates to some customers, glances up and glances at Sean -- he's not looking, but she is.
INT. ISABEL'S ROOM -- DAY 29
Isabel lies on her bed, closes her eyes. Deep breath. And....
ISABEL: I can't do this.
REVEAL MAX, sitting at her desk.
MAX: What's the problem?
ISABEL: How am I supposed to dreamwalk Melissa Foster when I don't know who she is?
MAX: Valenti showed you her picture. Try to dreamwalk her.
ISABEL: I know everyone that I dreamwalk. I have no idea who or where this girl is.
MAX: Just try.
She starts to push him out the door.
ISABEL: All right ... but not with you in here.
MAX: What if something happens? What if you get stuck or ---
She slams the door in his face.
MAX: (cont'd) (through the door) Love you, too.
She collapses back on her bed. Takes another deep breath. Closes her eyes. And we ....
DISSOLVE TO:
SCENE 30 OMITTED
AN HOUR LATER A31
Isabel sits up, shaking her head. It's not working. She walks toward her bedroom door, opens it and is overwhelmed by....
A BLAST OF WIND AND LIGHT
.... that sucks her though the door and into ...
EXT. WOODS -- NIGHT (DREAM)
...where Isabel now stands a few feet away from the back of the Kidnapper, now with his hood off. He lets go of the bad he's carrying, and Isabel sees something .. SOMEONE...in the bag, kicking, clawing, fighting to get out.
Isabel turns her attention back to the Kidnapper. She walks around and discovers that the Kidnappers is GRANT.
ISABEL: You....
MAX: (Off set) ... Isabel....
Isabel staggers away from the scene, trying to get away.
MAX: (O.S., cont'd) ISABEL!
INT. ISABEL'S ROOM -- DAY 32
She wakes up in Max's arms.
ISABEL: (upset) No...can't be
MAX: You started crying in you dream. What happened?
ISABEL: It's Grant ... he did it, it's Grant....
As Isabel holds onto her brother, we CUT TO....
INT. VALENTI'S OFFICE -- DAY
Max and Isabel sit in front of Valenti.
VALENTI: Sorensen?
ISABEL: I'm positive.
Valenti looks at her, nods.
VALENTI: All right, I'll take care of it.
He stands and grabs his hat.
MAX: You want us to help?
VALENTI: Not this time.
As he walks out with a purpose, we....
CUT TO:
EXT. GOLD COURSE -- DAY 34
Valenti stands in the green with JUDE LEWIS.
VALENTI: Your Honor, the woman who came forward is POSITIVE that she saw Grant Sorenson with Melissa Foster.
JUDE LEWIS: You have a history with this Sorenson character, don't you? He filed a complaint.
VALENTI: That was a misunderstanding.
JUDE LEWIS: Searching his room without a warrant? Shoving a gun in his face? Some misunderstanding.
VALENTI: Your Honor, a girl may be dying here.
JUDE LEWIS: Well, hurry up and bring me probable cause. Then you'll get you warrant. Otherwise, you're ruining my handicap.
We stay on Valenti, who seems to accept his fate when we...
CUT TO:
EXT. GRANT'S WORKSITE -- DAY 35
....as VALENTI and another deputy comb through the site.
VALENTI: Vinyl. We're looking for a large vinyl bag. Seven feet by three feet.
GRANT: (o.s.) Sheriff!
Valenti turns to see Grant running up to him.
GRANT: What the hell is going on here?
VALENTI: We need to do a little looking around, Mr. Sorenson.
GRANT: For what? My igneous rock collection?
VALENTI: Do you know Melissa Foster?
GRANT: I heard she was ... (the nickel drops) What is this? Every time somebody disappears, I become you number one suspect?
VALENTI: What were you doing last Friday night?
GRANT: I drove to Carlsbad. That's the opposite direction from Santa Fe.
Valenti regards Grant carefully.
VALENTI: How'd you know Ms. Foster went to Santa Fe? (BIG PS! GABBY HAS A HOUSE IN SANTA FE THAT SHE SPENT THE WINTER VACATION IN! HEHEHE and YES IT DOES REALLY SNOW FOR THE 40TH TIME)
Chinks appear in Grant's armor.
GRANT: It's -- common knowledge. The whole town's talking.
Valenti surveys the worksite. Off in the distance, he sees a PUP TENT. (WTF?) He starts to walk toward it; Grant follows.
GRANT: (cont'd) Sheriff, where's your warrant?
VALENTI: What were you doing in Carlsbad?
GRANT: I went to pick up some equipment.
VALENTI: We've had some reports that you've been out here in the middle of the night.
GRANT: That's not a crime.
VALENTI: Depends on what you're doing.
Valenti's reached the pop tent. Grant realizes Valenti's interest in it.
GRANT: Don't touch that!
Grant's outburst convinces Valenti this is what he's been looking for. He kicks over the pop tent, revealing.....
THE LARGE BLACK BAG 36
....Isabel saw in her dreams.
VALENTI: What are you doing with this bag, Mr. Sorenson.
GRANT: Transporting equipment.
VALENTI: I need to see what's inside. Open it please.
Grant tries to block Valenti.
GRANT: I can't do that.
VALENTI: If you won't, then I will. Now step aside.
GRANT: Sheriff, this is ridiculous---
Grant puts his hand on Valenti to stop him. Valenti puts his hand on his gun.
VALENTI: I said MOVE!
Grant reluctantly steps aside. Valenti bends down and rips the bag open, reavealing.....
GEOLOGICAL EQUIPMENT (dramatic dun dun dun)
VALENTI: What is this?
Grant falls to his knees, struggling to cover the equipment back up.
GRANT: Equipment! Photosensitive equipment! They use it in caverns -- like in Carlsbad! That's why I've been working at night, it's the only time I can get proper readings.
Red slowly starts to creep out from under Valenti's collar. Grant stands.
GRANT: You don't have a warrant, do you? (off Valenti's silence) Being harassed by you once was annoying. But twice....? I suggest you go back to your little cave and wait for my lawyers to call.
Off Valenti chastened, we CUT TO:
SCENE 38 OMITTED
INT. VALENTI'S OFFICE -- DAY 39
Valenti smashes into his office. Luberkin's waiting for him
VALENTI: Dan.....
LUBERTKIN: Cards on the table, Jim-bo. What's going on here?
VALENTI: I'm in the middle of an investigation.
LUBERTKIN: Where have you been for the past four hours?
VALENTI: Following a lead, checking out a suspect. Any other questions?
LUBERTKIN: You, you got a warrant this time for Sorensen?
Valenti looks at him.
VALENTI: You always know more than you let on, Dan. I should've remembered that the moment u crossed my door.
LUBERTKIN: Part of my job, Jim-bo. And right now, what I know is that you disappear for days on end, you spend a lot of time lately with teenage kids. Awful strange behavior.
Valenti sits down.
VALENTI: You're not here because of the Hubble case, are you? What's this all about, Dan?
Lubertkin dodges the questions.
LUBERTKIN: The state board's always had you in their watchfile, what with your reputation for chasing UFOs and whatnot. Now your own men are talking, and they wanna know what happened to their sheriff.
VALENTI: I don't owe them an explanation.
LUBERTKIN: You owe me. You're crossing a lot of lines here, I wanna know why.
VALENTI: I am in the middle of a time-critical investigation! A girl's life is on the line!
Someone KNOCKS on the door.
VALENTI: (cont'd) What?!
The door swings open and Hanson shepherds in a TEENAGE GIRL.
HANSON: Sorry, Sheriff, but....uh....
Valenti's mouth drops open.
LUBERTKIN: (to girl) can we help you?
TEENAGE GIRL: Yeah, my name's Melissa Foster. I heard you were looking for me.
Lubertkin turns to Valenti. As the sheriff's world implodes, we.....
FADE OUT:
END OF ACT TWO
--------------------------------------------------------------------------------
ACT THREE
FADE IN:
EXT. ALLEY -- NIGHT
Valenti, Max and Isabel meeting covertly behind the stationhouse.
VALENTI: The girl said her car gave out halfway to Santa Fe. Next day, she got a tow. No kidnappings. No needles. No bags in the desert.
Isabel turns away from both men so they can't see how upset she is.
VALENTI: Isabel, it's all right. Melissa's safe and her parents are happy. Nobody got hurt.
MAX: What about you?
VALENTI: Well....I have some.....awkward questions to answer, but......I'm sure it'll blow over.
ISABEL: Sheriff-- I am so sorry. I don't know how I could have been so wrong.
VALENTI: Listen to me, you didn't do anything wrong. You have.....gifts that the rest of us don't. And I trust those gifts. If anything like this ever happens again, I want you to come to me. All right?
Isabel can't meet his gaze, but she nods.
VALENTI: (cont'd) Now. don't worry about me. I'll be fine.
and we....
CUT TO:
INT. VALENTI'S OFFICE-- NIGHT A41
Valenti is getting grilled by Judge Lewis and Lubertkin.
JUDE LEWIS: What the hell is wrong with you? You conduct an illegal search after I say no?
LUBERTKIN: You know Sorenson's filled a fifteen million dollar civil suit against the city?
VALENTI: For what? Ruining some stupid experiment? He'll get laughed out of court.
JUDE LEWIS: Not in my court. I'm half-tempted to have you thrown into your own jail on a contempt citation.
VALENTI: I'm sorry. Okay? I was wrong. I had a hunch and I had to follow--
JUDE LEWIS: A hunch? You told me you had a witness.
LUBERTKIN: You told Judith Foster you had TWO witnesses. You terrified that family. I spent all day trying to calm them down.
VALENTI: There were two witnesses, but I promised them anonymity. I can't break their confidence.
LUBERTKIN: Are we talking about those kids again?
VALENTI: No.
JUDE LEWIS: What kids?
LUBERTKIN: Max and Isabel Evans
VALENTI: This has nothing to do with them.
JUDE LEWIS: (a shout) Then who? I want names and I want them NOW!
Valenti sits back, knows they're not going to like this.
VALENTI: I'm sorry.
The Jude gets up.
JUDE LEWIS: Gonna be a hearing in my courtroom nine am tomorrow. Best you find yourself a lawyer.
Lewis and Lubertkin head for the door.
SCENE 41 OMITTED
SCENE A42 OMITTED
INT. CRASHDOWN CAFE -- NIGHT B42
After hours. Kyle at the counter, Liz standing behind it, making a half-hearted attempt to wipe it down. Maria cleans the tables and Michael scrubs the grease traps in the background.
KYLE: Tess is openly mocking me now. This morning, I woke up with little antenna coming out of my head.
LIZ: We need professional help.
The door OPENS o.c. and Sean ENTERS.
SEAN: Yo, M.
Michael looks sharply at this.
MARIA: "M"? We use names out here in the world. My name is MARIA.
KYLE: Who's that?
MICHAEL: Maria's loser cousin. Sean.
SEAN: (to Michael) Can I get some fries, tough guy?
MICHAEL: Hey, there's a sign out front for a reason. CLOSED, all right?
Kyle keeps talking to Liz, but he's basically talking to the counter.
KYLE:> Anyway, the thing is...it's going to be okay. I mean, we're both obsessed people, but we'll get through it. At least we have each other.
LIZ: You know, I think the fryer is still warm. I could whip you up some fries.
Maria gives her a "you gotta be kidding" look.
SEAN: Nah. Forget it. I'll scrounge something up at home.
He heads for the door.
MARIA: Stop calling it that! It's MY home! You're just passing though.
Sean's gone. Maria looks over at Liz, catches the look on her face. Liz tries to go back to cleaning the counter.
MARIA: (cont'd) Are you even remotely thinking.....?
LIZ: No. Of course not.
The more Liz busies herself, the more it's clear she's interested. Maria shakes her head.
MARIA: All I do is try to help, but does anyone listen.....?
She walks off.
LIZ: (distracted, to Kyle) Sorry, what were you saying?
KYLE: Nothing, Just .......talking to myself. (to Maria) You got any cousins for me?
CUT TO:
SCENE 42 OMITTED
INT. ISABEL'S ROOM -- NIGHT 43
Max and Isabel sit at opposite ends of the room.
MAX: How could this happen?
ISABEL: I don't know.
MAX: Valenti might be losing his job because of us, have you thought about that?
ISABEL: Of course, I have! But what was I supposed to do, let this girl die?
MAX: There is no missing girl, all right? Your dreams were wrong. YOU WERE WRONG.
This hits both of them like a slap.
ISABEL: Don't you think I know that? But maybe part of me.....needed her to be missing?
MAX: What do you mean?
ISABEL: After everything that's happened, after all the pain we've caused. I just wanted what we are---what I am---to do something good for a change.
Max comes over to her. Hugs her tightly.
MAX: You are my sister. You yell at me, you second-guess me and you piss me off. You've also saved my life. I don't care what we've been through, I still believe in you. I always will.
Isabel holds back her tears.
MAX: (cont'd) Go to sleep. You look really bad.
ISABEL: Thanks.
He gives her one last brotherly squeeze and we.....
CUT TO:
SCENE A44 OMITTED
INT. ISABEL'S ROOM -- NIGHT
The lights are off. Isabel's asleep. But it's not peaceful.
FLASH TO:
EXT. FRAZIER WOODS -- NIGHT C44
Isabel stands at a different point in the woods, which she sees in more detail than before. An open clearing with the chimney of an abandoned pump house in the distance.
The Kidnapper, with his hood back on, wraps a young girl in duct tape. He stands so that he blocks the girl's face from Isabel's view.
ISABEL: Max! Max, help me!
She FLASHES again, but we go to.....
INT. ISABEL'S ROOM--NIGHT D44
Max runs to his sister's bedside.
MAX: I'm here. I'm here. Isabel, wake up.
She won't wake. Max gently shakes her. No good. He pries open one of her eyes. The pupil and iris have turned to a BOILING GREEN.
MAX: (cont'd) ISABEL!!
Her name rings inside her head as we push in on her face and FLASH TO:
EXT. FRAZIER WOODS----- NIGHT 44
We see the scene through the KIDNAPPER'S POV as he finishes binding the GIRL. The girl is NOT Melissa Poster.
MISSING GIRL: ...please......
The Kidnapper ties off the girl's arm. Rolls up her sleeve. Taps the vein. Prepares the needle.
MISSING GIRL: (cont'd) You don't have to do this.....please......
CUT TO:
INT. ISABEL'S ROOM --- NIGHT 45
As Max kneels over his sister, she speaks with the VOICE OF THE MISSING GIRL.
ISABEL: (as girl): You don't have to do this.....please.....
Max holds Isabel tightly.
MAX: (coaxing) Come back , Isabel.....come one.....
EXT. FRAZIER WOODS--- NIGHT 46
......as Kidnapper injects the hybo, the girl screams and...
INT. ISABEL'S ROOM --- NIGHT 47
Isabel sits upright, gasping for air like a drowning victim pulled out of the water.
MAX: Isabel, are you all right?
ISABEL: (still gasping) Oh my God...
CUT TO:
INT. VALENTI'S OFFICE --- NIGHT 48
Lubertkin ENTERS the office with another file in his hand. He tosses it on the desk.
LUBERTKIN: Judith Foster's filing a grievance with the stare police board. She wants a formal investigation into your actions.
VALENTI: Now I wonder who put that idea into her head?
LUBERTKIN: A lot of questions here, Jim-bo. You better start thinking of some answers.
VALENTI: The phone rings, Valenti and Lubertkin both look at it. It rings again, Valenti picks it up.
VALENTI: (into phoe) Sheriff Valenti.
INTERCUT WITH:
INT. ISABEL'S ROOM --- NIGHT A49
Max is on the phone.
MAX: It's not over.
VALENTI: (into phone) You better explain that to me.
MAX: It's not Melissa Foster. It's another girl. She's in Frazier Woods in the clrearing near the abandoned pump house. We have to go RIGHT NOW.....Sheriff?
Valenti eyes Lubertkin. Lubertkin eyes Valenti.
VALENTI: (into phone) Where are you now, Deputy?
MAX: We're at our house. We'll meet you on Clark street near the Crashdown.
VALENTI: (into phone) You stay where you are. I'll handle it.
MAX: We're going with you......Can you meet us?
VALENTI: (into phone) I'll meet you there, Deputy.
Valenti hangs up. Grabs his jacket.
LUBERTKIN: Your deputies always call you on your private line?
VALENTI: I'll see you in the morning.
Lubertkin stops him.
LUBERTKIN: Your Daddy went down just like this. He got some fool notion in his head, ignored the law and his friends and ended up handing over his badge.
VALENTI: Is that a threat?
LUBERTKIN: If that phone call was from those kids.....consider it a warning.
Valenti walks out, leaving a desgusted Lubertkin behind him and we.....
SCENES 49-51 OMITTED
FADE OUT:
END OF ACT THREE