"Who Am I?"
(Episode #121)

Story By
Joan Pickering and Erica Cavin

Written By
Joan Pickering
with
Erica Cavin

Beta Tester Draft	05/08/04
Final Draft	06/07/04
Posted	06/09/04

This is an unofficial project. It is not sponsored, licensed, or approved by Warner Brothers, Jason Katims Productions, or Regency Television. Not affiliated with Fox, Fox Searchlight, Tribune, Time Warner or the WB or UPN or parent company Viacom. No copyright infringements intended.

Original contents copyright (C) 2004 by Roswell: What Might Have Been

It's after-hours and the place is empty except for Liz and Max doing their homework in a booth, and Michael and Alex in another. Michael is working on a sketch pad and Alex is making comments, but we do not hear their conversation nor see what Michael is drawing.

The camera switches focus from an overall view to Max and Liz. Liz looks up from her text book to see Max staring into space. She studies his pensive look with suspicion.

He leans toward her and they kiss across the table.

Michael, Max, and Isabel are all sitting on the floor. They all have their eyes closed and appear to be concentrating very hard on something, almost as if they are meditating. Isabel is the first to open her eyes and speak, and Max and Michael open their eyes when she does speak.

Michael gets up and heads for the window. As he's climbing out he turns back to Max.

Michael exits by the window.

FLASHBACK TO PRESENT

Liz puts her hand over his reassuringly. The camera pulls back to show Maria coming out from the back room into the main dining area. She walks past Alex and Michael, glancing at what they are doing as she passes. She rolls her eyes then slumps into the booth occupied by Max and Liz, sitting next to Liz.

Alex is describing something to Michael, who is attempting to draw Alex's description. Max, Liz, Isabel and Maria watch.

Michael tears the sheet off the pad and crumbles it in frustration. He throws the wadded paper as he speaks; it joins several others on the living room floor.

FLASHBACK TO PRESENT

Mr. Cohen is addressing the class, who are at their easels. Michael is among them.

Mr. Cohen stares at Michael for a moment.

Dissolve to Michael working on faces with Mr. Cohen's help.

FLASHBACK TO PRESENT

Liz and Maria nod knowingly.

She's interrupted by an exuberant outburst from the other booth.

Michael is very pleased. Max, Liz and Maria come over to the booth to see what the commotion is about. They peer over Alex's shoulder at the drawing pad and the camera focuses on the drawing--a very good likeness of the Hispanic man from Independence Day and Sexual Healing. The camera switches angles to get Max's and Liz's astonished expressions as they speak, simultaneously.

Cut to commercial.

Michael, Max, and Isabel are standing in Michael's living room. Isabel is talking, pacing as she speaks. She is obviously agitated. Max tries to get a calm word in, but she continues her rant, not hearing him.

Michael is sitting opposite Deputy Green at the interrogation table. Valenti is standing near the door; he seems pissed. Deputy Blackwood escorts Hank into the room. Michael stiffens when he sees Hank. Hank glances at Michael but does not address him.

Michael is staring at Hank warily.

Hank leaves. Michael stares after him with a puzzled look.

FLASHBACK TO PRESENT

Max thinks about it for a moment and we quickly FLASHBACK to when Max and Liz met the "Desert Man" in the desert, and then FLASHBACK again to the present.

Isabel is taking in what Max is saying, starting to calm down, nodding in agreement. Michael is less convinced.

Max knows he's referring to Liz now.

Cut to commercial:

There are students milling about, transferring from one class to another. Maria and Kyle are talking by his locker.

Liz joins them.

Maria and Kyle immediately shake their heads "no", very emphatically.

The bell rings and they all head for their next class; Kyle goes in the opposite direction and Maria and Liz walk together.

Cut to:

Alex's bedroom is filled with computer and electronic equipment, as well as bookshelves filled with books, manuals, and magazines on a variety of subjects. Alex is at his computer. There is a copy of the picture Michael drew of the Desert Man on his desk. On his monitor's screen are thumbnail pictures of men. Most are in military uniforms, but some are not. They all have dark hair, and dark eyes. The pictures have an old look to them, based on style of dress and hair, like they are from the 1940s. He appears to be comparing the sketch to the pictures on the screen.

Cut to:

Michael is riding a motorcycle down the highway. It's a bit of a junker, but runs.

Michael, you seem to have a good rapport with River Dog. See if you can find out if Nasedo ever mentioned shapeshifting to him.

Cut to:

Isabel and Maria are sitting cross-legged on her bed. The sketch Michael drew of the Desert Man is on the bed between them. Isabel's hand hovers over it then she moves her hand to her face and nervously brushes aside a lock of hair. Maria picks up the sketch. They are talking, but we do not hear their conversation.

Max, Michael, Isabel, Liz, Maria, and Alex are all sitting at desks, clustered close together, brainstorming on what to do.

FLASHBACK TO PRESENT

Max and Liz have laid out a blanket which they are kneeling on. There is a lantern beside them and the orb between them on the blanket.

They stare at the orb; nothing happens.

Cut to:

River Dog's living room has the basic amenities: couch, arm chair, coffee table, TV and VCR on a stand, floor lamp, etc. and one item that gives the room a more personal, welcoming feel - a handmade rug. Michael is seated on the couch. River Dog is across from him in a well-used arm chair.

Michael writes down the statistics River Dog is giving him.

Michael quickly sketches as River Dog speaks.

Cut to:

They are still sitting as before. We join them in mid-conversation.

Maria nods knowingly, then a thought comes to her.

Cut to:

Michael is showing River Dog his rough sketch.

River Dog nods in understanding.

Cut to:

Alex's computer monitor shows that he was looking at marriage licenses. The white pages are open on his desk. He is on the phone.

There's a click, signaling a hang-up.

Cut to:

Same positions as before. Night has fallen. The orb is still inactive.

Still nothing.

Max closes his eyes and concentrates. Nothing happens. Suddenly the silence is disturbed by the sound of gravel falling near the collapsed tower. They both jump with a start, then look around trying to find the source of the sound. They both smile at their embarrassment and relief when they realize it's just a small lizard.

As they breathe a sigh of relief a rattlesnake springs out from its hiding place in the tower, grabs the lizard, then slithers back into its hiding place. The sudden appearance of the snake causes them both to gasp and jump again, only this time Max's reflexes cause the orb to fly out of his hands into the air. They both catch it at the same time. As they do, a beam shoots up to the sky displaying the Whirlwind Galaxy symbol. They are both startled by this and drop the orb. The signal goes out. Both look at the orb with amazement.

Cut to:

Michael closes his sketch pad, as if preparing to leave, but he doesn't get up from the couch. He seems to have something else on his mind that he's not sure how to bring up.

Cut to:

He is pulling some equipment out of his closet, piling the assortment on his bed.

FLASHBACK - INT. WEST ROSWELL EMPTY CLASSROOM - NOON

Continuation of classroom meeting.

FLASHBACK TO PRESENT

Alex looks through some stencils. Chooses one of a flying saucer.

Cut to:

Same positions as before.

Max does, but nothing happens. He puts the orb down.

Liz picks it up, tosses it, and catches it. Nothing.

She closes her eyes and concentrates. Still nothing. Max reaches out to take the orb and when he touches it the beam turns on.

Max smiles, liking that thought. They continue to hold the orb together, watching the Whirlwind Galaxy symbol displayed in the sky.

Cut to:

We are in a dark enclosed space. The only light is provided by the Whirlwind Galaxy symbol being beamed from an orb, which makes it difficult to see where we are. It appears as if it might be a storage vault.

Cut to:

Michael heads for the door.

Cut to:

Same scene as before.

Isabel nods, places her hand on the Desert Man picture, then hesitates.

Maria can see she's still a little nervous so she takes Isabel's free hand in hers. Isabel smiles, takes a deep breath, and closes her eyes.

Cut to:

Alex exits out the patio door into the backyard carrying some of the equipment he was taking out of closet earlier. He glances up and sees the Whirlwind Galaxy symbol in the sky. As he puts down the projector he's carrying we hear a motorcycle approach and stop nearby. Alex turns his head towards the gate and the sound. Michael comes through the gate and walks towards Alex.

Alex gestures with his hand as if to say "with your powers?"

Cut to:

Isabel's eyes are closed and she is touching the drawing of the Desert Man. She jumps with a start as she opens her eyes and comes out of the dreamwalk.

Isabel is momentarily overwhelmed by Maria's barrage of questions, then composes herself to answer each in succession.

Cut to:

Michael and Alex are busy with the equipment: plugging things in, positioning the projector, etc. They talk as they work.

Cut to:

Isabel is over by her dresser, rearranging the items on top--busy work to try to clear her mind. Maria is still seated on the bed, watching her. Isabel looks like she wants to ask Maria something, but is hesitant. Finally she speaks up.

Cut to:

Alex and Michael are working on the finishing touches.

Michael looks back at Alex; we can see the distress in his eyes. He's finding it hard to formulate words to express himself. Finally he speaks.

Alex nods. They have finished setting up the equipment.

Michael flips the switch. An impressive light show begins with interweaving "flying saucers".

Cut to:

Max and Liz are still alone, holding the orb together, watching the beam in the sky. Liz switches her gaze to Max who is looking intently at the beam. The hope that this will work is written all over his face.

Max turns away from the beam to look at Liz. He smiles.

The camera pulls back and we see the signal in the sky as well as Max and Liz holding the orb. As the camera pulls back a little more we realize we are watching this scene through high powered binoculars. We do not see who is holding them.

Cut to commercial:

Valenti is seated at his desk; Owen is standing by the desk. They are in the middle of a discussion.

Before Valenti can respond there is a knock on the door; both Owen and Valenti turn towards the sound. Without an invitation Hanson opens the door and enters.

Hanson exits, shutting the door behind him.

Cut to:

Max, Michael and Isabel are walking down the hallway, talking as they walk.

Max's eyes widen at this information. He looks with amusement at Michael's shocked expression as he whispers an aside to Isabel.

He walks off ahead of them, not happy.

On Max's puzzled look we cut to:

Michael is sitting at the kitchen table. Lisa, an 18 month-old, is in her highchair next to him. She is feeding herself macaroni and cheese, which is down her chin, all over her tray, on the floor, and in Michael's hair. Lisa puts some of her dinner on her spoon, starts to bring it too her mouth as she watches Michael, then laughing, flings it to the floor. Michael is not amused, but trying to be patient.

Lisa giggles.

Michael spoons up some macaroni and cheese and puts it into Lisa's mouth. She holds it in her mouth briefly, then, laughing, lets it dribble out down her chin. We hear a crash from another room. Michael's head quickly turns in the direction from which the sound of the crash came.

Michael lifts Lisa from the highchair and, carrying her, hurries towards the bathroom. Joey, a four year-old is standing in the bathroom surrounded by a mess. Items that were on the tank top are now all over the floor. There is also toothpaste all over the mirror and the toilet paper has been totally unrolled all over the floor. Michael puts Lisa down and surveys the damage.

Michael picks up the spent toothpaste tube.

Joey runs out of the bathroom towards his bedroom. Michael starts to follow then realizes that Lisa is gone. He looks down the hall and sees her in the kitchen eating macaroni and cheese off the floor.

Cut to:

Nelly Furtado is performing on stage. The place is packed. Isabel, Vanessa and Elana are dancing in the aisles.

Cut to:

Kyle is setting the table. He's scowling; this is not how he wanted to spend the evening. Valenti comes in, tucking in his shirt. He is obviously freshly showered and shaved and a little nervous. As he passes by Kyle, and goes into the kitchen, Kyle sniffs the air.

Valenti stops in his tracks, turns and looks at Kyle.

Valenti continues into the kitchen, opens the oven and sticks a fork into a baked potato.

Kyle appears in the kitchen doorway and leans on the frame.

Kyle rolls his eyes; he's heard that before. The doorbell rings.

Valenti goes to answer the door.

Valenti opens the door with a big smile on his face. Amy is standing on the porch with a pie in her hands. Maria is behind her, holding another.

Amy and Maria both step into the house. Amy holds up the pie as she speaks.

Amy laughs; Maria rolls her eyes like she might be ill.

She turns to Kyle and holds out the pie she has been holding.

Valenti heads for the kitchen with the pies. Kyle takes their coats and steers them toward the living room couch.

Cut to:

Lisa is back in her highchair. Michael is on the phone. The kitchen, and he, are still a mess.

Cut to:

Alex is working on the light show. His cell phone is ringing. He takes it out of his pocket and checks the phone number on the display. Then he pulls a piece of paper from his pocket which has "Petersons 505-555-6748" written on it.

Cut to:

Michael is still on the phone.

Michael slams down the receiver.

Lisa giggles. Michael hesitates but finally picks up the phone again.

Cut to:

Isabel shows Vanessa and Elana a new dance maneuver.

Elana and Vanessa smile conspiratorially.

Cut to:

Michael is in the bathroom trying to get the macaroni and cheese out of his hair. He tries, unsuccessfully, to use his powers on it. In the background we can hear Joey still asking for Kimbie and things crashing in the kitchen. Michael grips the sides of the sink and closes his eyes as if counting to ten.

Cut to:

They are all seated at the dining table in the middle of the meal. There is an awkward silence. Maria is wolfing down her meal. Kyle is obviously bored.

There is another lull to the conversation.

Amy glances at Valenti as she reveals the next bit of information, to get his reaction.

Valenti is pleased and surprised.

Valenti's eyes light up at the memory and then his expression changes, as he realizes where this conversation is going.

Amy laughs; the kids start to protest.

Valenti laughs. Maria and Kyle exchange "now things are getting interesting" glances and lean forward eagerly. The ringing of the phone interrupts them. Amy gives Valenti a "not again" look.

Amy smiles back. We hear the answering machine click on.

The machine beeps.

There's a click as Deputy Hanson hangs up. The camera has shown Maria's and Valenti's reactions to the message--her eyes widened at the mention of the sighting, but she quickly recovered and tried to appear as if the call meant nothing to her; his eyes widened at the mention of Deputy Green.

Cut to commercial:

Michael, alone, is finishing cleaning the mess in the kitchen. Maria enters from the hallway.

She goes to the refrigerator and takes out two Cherry Cokes. She hands one to Michael.

They head for the living room and sit on the couch. Michael picks up the remote and turns on the TV but keeps the volume low.

They sit and watch the TV for a moment.

Frustrated, Maria gets up and starts pacing.

She stops her pacing to confront him.

Now it s Michael's turn to be frustrated and to get up to pace, but he also keeps his voice low.

Michael stops pacing and looks directly at Maria.

Maria takes his hands in hers and looks into his eyes.

Michael is really touched by what she has said and it registers on his face. He enfolds her in his arms and kisses her on top of her head.

Michael smiles. He is reluctant to break the embrace, but he notices the time and realizes he has to.

Maria puts her arms around Michael again, looks up at him and smiles.

Michael realizes what he just said. It takes him a beat for the look on his face to go from "Oh my God, how do I get out of this," to realizing he doesn't want to. A half smile crosses his face as he looks at Maria.

They kiss.

Cut to:

Alex is talking to Liz. Maria is with them trying to appear depressed, like Alex, but not quite pulling it off.

Isabel overhears this as she approaches their table.

Liz nods, Alex hasn't heard anything past "I wanted to go to the dance with you".

Maria glances quickly at Alex to see if he heard Liz, but he's oblivious to anyone but Isabel.

Liz and Maria take off.

Isabel beams.

Cut to:

Michael and Max are walking down a hallway, talking.

Cut to:

River Dog is sitting in the cave, the same area where they healed Michael in "The Balance"; he's meditating. The torches that were lit then are lit now, providing a modicum of light. Another light can be seen near the passageway to the exit/entrance of the cave. It appears to be moving--someone is approaching. Michael steps into the opening. When he notices the torches he extinguishes the light he had created with his powers in his cupped hands.

Michael nods and we cut to a montage of River Dog teaching Michael a meditation technique, showing him how to breathe, etc. Then dissolve to them finishing.

River Dog picks up a flashlight that was lying beside him and starts to exit, but Michael does not follow. River Dog turns back to him.

River Dog leaves. Michael walks over to the painting on the cave wall that Nasedo left for them to examine the symbols. He starts to lean on the wall above the symbols with his right hand as he peruses them. He's surprised when a silver hand print starts to glow under his right hand and he quickly removes it. He checks his hand but nothing appears amiss so, curious, he hesitantly reaches out and places his hand in the same spot. Again it starts to glow and this time his hand starts to sink into the wall. Startled, he pulls his hand back again and examines it. Once again, nothing seems amiss, so he places it back on the wall, this time letting his hand sink in up to his wrist. The look on his face tells us he feels something and when he pulls his hand back he's holding a metal book. Michael stares down at the book. Engraved on the front cover is the symbol that he and Isabel burned in front of the library in "Blind Date" to contact Nasedo. Before he can open the book he is hit with several visions in a row. Most are of the same symbols he saw in the desert during his illness in "The Balance" and each one seems stronger than the last, obviously causing Michael pain. His left hand goes to his head as he is hit with one more vision, different from the others. It's of a broken fence with a sign lying next to it that reads "Pohlman Ranch". This vision is so strong that it knocks him to the ground, unconscious, still clutching the book.

Cut to:

Michael, recovered, is telling the others (Max, Isabel, Liz, Maria, and Alex) about his visions. Maria is fussing over him trying to put wet cloths on his forehead which he immediately removes. The metal book from the cave lies open on the bed beside him; we can see that it is filled with symbols similar to those on the cave walls.

Isabel and Max move in closer to Michael, intrigued.

Blank looks all around. Then Max, Liz, and Alex simultaneously head for Max's computer. Alex sits at the computer and Max and Liz stand to either side.

Alex starts typing on the keyboard.

She leaves the room. Dissolves show a passage of time as Isabel returns, the others make phone calls home to explain their absence, everyone but Alex pacing back and forth, occasionally suggesting other places for Alex to look. The sun starts to stream through the window; they've been up all night.

They all gather round.

Max, Isabel, and Michael all look at one another.

Michael grabs the book and his jacket and starts heading out the window. The others pause for just a moment, grab their jackets and follow him.

Cut to:

Max and Liz are in the front seats, Isabel and Alex in the back. They are following the Jetta on a dirt road in the desert. Alex is looking back the way they came.

Cut to:

Cut to:

Cut to:

Cut to:

The Jetta approaches the rock formation. The Jeep is close behind.

Cut to:

Michael is stunned. He stops the Jetta and just stares at the rock formation.

Maria breaks his reverie by getting out of the car. He follows suit, as do the others in the Jeep. The camera follows them as they walk slowly towards the rocks. Max is the first to sense something and starts to pick up speed until he is practically running towards one of the rock walls. The others chase after him. Max reaches the rock wall, stands before it momentarily as the others catch up. Somehow he just knows to reach out and place his hand on the wall, as if he had been doing it all his life. It glows silver under his hand, then the stone appears to ripple and shimmer. They all look on, stunned and amazed as it transforms itself into a doorway-like opening. There is a hollowed-out area inside, large enough for two people and a child-sized pod. Light streams in from the opening Max just made and from a small one in the ceiling of the pod chamber, which also lets in air. Max steps in and we see the egg-shaped gossamer-like pod shell he emerged from in 1989. Max stares at it, mesmerized. He reaches out to touch it and gets a flash (two moons and green clouds). Isabel, standing at the opening notices an engraving on the wall opposite the pod.

Max sees the Whirlwind Galaxy symbol Isabel is pointing at.

Isabel suddenly senses something and runs to another section of the rock formation. Max follows her and the others follow him, each taking a glance inside Max's pod chamber before leaving, murmuring words of amazement and appreciation. Liz is the last to leave. She appraises the chamber with a scientist's eye, reluctant to leave but also curious to see what Isabel has found; she takes one last look then runs to catch up with the others. As Liz leaves, a ripple effect appears and the doorway- like opening of Max's pod chamber turns back into a solid stone wall. Michael is the only one who notices and heads back to Max's chamber. In the meantime, Isabel, imitating Max, has opened hers. As Isabel and the others examine her pod chamber, in the background we see Michael repeatedly trying to open Max's without success. Puzzled and dejected, he rejoins the others. Isabel's chamber is just like Max's, including the Whirlwind Galaxy engraving. Isabel touches her pod and lets out a small gasp as she gets a brief flash. She turns to Max.

Isabel steps out of the chamber so the others can have a look.

At their puzzled expressions, he points towards Max's chamber and they see that it has resealed itself.

Liz is in Isabel's chamber examining her pod when Max appears at the opening.

Liz complies but the chamber remains open.

They do and the ripple effect re-appears and the chamber seals itself. Max steps up and places his hand on the solid stone. Nothing happens. Isabel steps up and does the same. The silver hand print glows, the stone wall ripples and the opening re- appears. Scientist Liz immediately goes back in.

Michael smiles but still seems troubled. He walks away from the others, looking around, trying to locate his own pod chamber. Maria notices his troubled expression and approaches him.

Michael looks at her with a spark of hope.

Michael uses the breathing technique he learned from River Dog then closes his eyes and concentrates. He gets a flash, his eyes pop open, and he takes off running towards another section of the rock formation, dragging Maria behind him, who is still holding his hand. In the background we see Max and Liz have returned to his chamber and re-opened it. He enters and Liz stands by the opening. Isabel is in her chamber with Alex by the opening. Michael reaches his and, still holding Maria's hand he reaches out with his right hand, places it on the stone wall causing the glowing hand print, the rippling wall, and the doorway-like opening to appear. Releasing Maria's hand, he steps inside. Maria observes from the opening. Michael's chamber matches Max's and Isabel's. Michael reaches out to touch the Whirlwind Galaxy engraving on the wall and, like in the Mesaliko Reservation cave, his hand passes through up to his wrist. When he removes his hand he is clutching a pair of blue baby booties.

Cut to:

The cave is dark. We see a beam of light, but not its source. It travels through the cave to the symbols painted on the wall. A male hand reaches out above the symbols and touches the wall. A silver hand print appears and the hand sinks into the wall up to its wrist. It comes out of the wall almost immediately, freezing in mid-air as if the person on the end of the hand was stunned to see it empty.

Fade out.

Beta Testers:

Max and Liz are talking to River Dog.

Cut to:

Hank walks into the Sheriff's office.

Cut to:

Hank drives into a wooded area, stops the car, pops something into his mouth from a small container and pockets the container. He then gets out of the car, opens the back of the station wagon, drags out and buries the body of a man that looks just like him, then gets back into the car. A bright light eminates from the car as he shapeshifts into a Hispanic male, and again pops something into his mouth from the container and pockets it.

Cut to:

Max and Liz are asleep on a blanket; the orb beside them. They wake up to find the Hispanic man from Independence Day watching them.

Cut to:

Amy is behind the counter, Jim in front.

Amy nods, which encourages Valenti to continue.

Cut to:

Isabel and Michael are sitting at a table.

Cut to:

Alex is in his room. He's putting things away in his dresser and notices the dance tickets he has stuck in the mirror. He flashes to Isabel laughing with Kyle, then puts them in a drawer. He goes to his desk and opens one of his books. He was using a dance flyer as a bookmark, and when he realizes what it is, he starts to crumple it. He stops when he notices there is an announcement for band auditions.

Cut to:

Deputy Green and Larry Trilling are sitting across from each other in one of the booths.

Green throws some bills on the table and gets up. Larry does the same.

They head for the door. As they are walking out, a man (the same Hispanic man from Independence Day and Sexual Healing) looks around from the booth that was directly behind them and watches them exit.

Cut to:

The moon is not yet full so Michael cups his hands and uses his power to provide enough illumination to check the field for spent bullets. Dissolves show a passage of time as Michael searches the field looking for the right caliber, picking up and discarding various bullets. We sense he is being watched and at one point so does he. He stops and looks around, doesn't see anything, so he shakes it off and continues searching the ground. Finally he finds the one he's looking for, holds it in his fist briefly to distort it and alter the markings.

Cut to:

As Michael gets to his door, Deputy Green steps out of the shadows. Maria, who was approaching, stops short.

Cut to:

Maria, Isabel, and Alex are sitting in the Jetta in the Sheriff's Dept. parking lot. Isabel is focused on a man who is entering the Sheriff's Dept.

Cut to:

Jeff, Nancy, Liz, Maria, and Max are there. Jeff stoops and picks up an object Nancy is pointing at, then holds it in the palm of his hand to examine it. The others gather around.

He looks around then heads towards the pass-through window.

Cut to:

Alex is lurking in the shadows outside Scotty's, watching the front door. Suddenly the door opens and Hank walks out and up the street. Alex follows at a safe distance. Hank continues walking down the street with Alex following at a safe distance. Hank turns a corner down an alley. Before Alex can get there, a bright light shines out from the alley; then a man walks out, the same Hispanic man from Independence Day and Sexual Healing. He pops something into his mouth, pockets the small container, and continues down the street. Alex notices the man, but is curious about the light and turns down the alley. It's a dead end and no one is there. Alex looks back in the direction the Hispanic man went (which is now empty), then back to the alley. He starts looking around, behind trash bins, etc. to see if Hank is hiding, but finds nothing. Alex ends up standing in the middle of the alley looking baffled.