ROSWELL
WHAT MIGHT HAVE BEEN


Episode 118
Don't Tell Mama


Story By
Erica Cavin and Joan Pickering

Written By
Joan Pickering
with
Erica Cavin
and contributions by
TeeJay


Beta Tester Draft 06/07/02
Final Draft 06/20/02
Posted 06/26/02




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  ROSWELL: WHAT MIGHT HAVE BEEN - "Don't Tell Mama" - TEASER - 06/20/02

TEASER


  1 INT. MAX EVANS'S BEDROOM - NIGHT

Max is lying on his bed listening to Dido's "Honestly OK" on his CD player.

I just want to feel
safe in my own skin
I just want to be
happy again
I just want to feel
deep in my own world
But I'm so lonely
I don't even want to be with myself
anymore

On a different day
If I was safe in my own skin
Then I wouldn't feel
lost and so frightened
But this is today
And I'm lost in my own skin
And I'm so lonely
I don't even want to be with myself
anymore

Cut to:

  2 INT. EVANS HOME - HALLWAY - CONTINUOUS

Diane is walking by Max's bedroom door, which is ajar, and hears the song. She stops and peeks her head in. She sees Max stretched out on his bed, forlornly looking up at the ceiling. It pains her to see her son hurting like this. She thinks for a moment, then steps into the room.

DIANE
Hi, honey, do you have a minute?

Max looks up and sees his mother at his door. He sits up on the bed. His demeanor does not change.

MAX
Sure. What's up?

DIANE
Well, obviously not your spirits.

Diane leaves the doorway and heads for the chair near the foot of his bed. She sits and looks with concern at her son.

DIANE (cont'd)
I'd like to help if I can.

Max looks at his mother with a little bit of hope.

MAX
Would you be willing to talk to the Parkers and convince them to let Liz and me see each other again?

Diane gives him a "you know that's not going to happen" look.

DIANE
(in a caring tone)
As you know, they're not the only ones who aren't sure that's a good idea.
(beat)
Ever since you've been dating Liz Parker, you've changed. Your priorities have changed. In the past, you've always been so studious and careful and conscientious ... and lately ... Well, I think you can see why we are so concerned, and why we think it might be best for you two to stay away from each other.

MAX
You think Liz is a bad influence, but you're wrong. Liz is the best person ... the best thing that has ever happened to me.

Max notices his mother's surprised, slightly hurt look.

MAX (cont'd)
(quickly adding)
Besides you and Dad.
(beat)
I'm sorry if I haven't been a model son lately, but it's not Liz's fault. I'm to blame, not her.

DIANE
We're not asking you to be a model son. And, although I am glad you are willing to take responsibility for your actions, what I'd really like to know is, what's causing this change in your behavior? Is something troubling you? Do you need to talk about it?

Max avoids looking her in the eye. He shakes his head.

MAX
No. Nothing's wrong.

DIANE
(not convinced)
Is it something you can't talk to me about? Would you feel more comfortable talking to your father?

MAX
No, Mom, really ... nothing's wrong.

Max looks her in the eye and manages a smile.

MAX (cont'd)
There's no need for you to worry. Everything's fine. I'll try ... I'll try to be more conscientious and the other stuff you mentioned.

DIANE
Are you sure? You know you can talk to me or your dad about anything. No matter what it is. We won't judge you. We just want to help you.

MAX
I know, and I will ... talk to you ... if I need to talk. Max looks down.

MAX (cont'd)
I just don't have anything to talk about right now.

Max glances up with a slight smile.

MAX (cont'd)
Unless of course you want to discuss reducing my sentence.

DIANE
(smiling back)
I think you need to serve a few more days before we can discuss a pardon.

MAX
(in a joking tone but obviously serious)
Would it be worth my time to prepare an appeal of the no-dating edict? I mean, If you think the committee would listen ...

DIANE
(still smiling)
I think they're reasonable people.

Diane notices the time on the clock by his bedside--11:05 PM.

DIANE (cont'd)
(warmly)
It's getting late, and it's a school night, so don't stay up too much longer. OK?

MAX
Sure.

DIANE
OK, goodnight then.

Diane leaves his room. Max smiles. He reaches over to his CD player and changes the track to Jeremy Toback's "You Make Me Feel" - the song Liz told him she also loved.

Cut to:

  3 EXT. LIZ PARKER'S BALCONY - SAME

Liz is in her lounge chair, writing in her journal.

LIZ (VO)
It's Tuesday, February 29th; Leap Year Day. How appropriate, considering the leap my parents have taken where Max is concerned. I had no idea how stubborn, obstinate, unyielding and pigheaded they could be. How can they say I'm not allowed to see Max anymore? Ever. How can they even do that? Mom says she understands how I feel about Max, but how could she, if she's siding with Dad in this.

Tears start welling in her eyes.

LIZ (VO) (cont'd)
And to think, just a week ago I thought I could ride out this grounding. But that was when I thought I would be with Max again ... to be held in his arms ... to share long, deep, soul searching kisses ... Now ... now I feel like a prisoner in my own home: no freedom to see who I want, when I want, constantly being watched, no longer trusted ...

She stops writing momentarily as she sighs, then continues.

LIZ (VO) (cont'd)
The concerned looks on my parents' faces tells me they are wondering what happened to the daughter who always did what she was told, never broke the rules, never gave them anything to worry about. But I can't believe they think Max--kind-hearted, compassionate, loving Max--is a bad influence. They don't even know him. It just kills me that I can't explain to them why I've changed, and who and what Max really is. It's so ironic--if not for Max, I wouldn't even be here for them to punish, for them to tell me I can never be with him again. There has to be a way to make them see reason, without revealing the whole truth. There has to be. God, how I wish I could talk to Grandma Claudia about this. Even if I couldn't tell her the whole truth, she would still understand, she would know how to make this right.

Liz stops writing in her journal and looks up at the stars.

LIZ
(softly, to herself)
What would you tell me to do, Grandma?

Liz visualizes her grandmother, sitting at the foot of her lounge chair.

GRANDMA CLAUDIA
(smiling warmly)
Honey Bear, if Max is as good a person as you feel he is, then he should have no trouble showing that to your parents.

The vision of Grandma Claudia fades away.

LIZ
Right.

Liz smiles and wipes the tears from her eyes. She has hope once again. She gets up with a look of determination, goes back to her bedroom, replaces her journal behind the loose brick in her bedroom wall and sits at her desk. She gets a pad of paper and a pencil and starts making a list of all of Max's good qualities: the ones she can be public about.

  4 INT. ISABEL EVANS'S BEDROOM - SAME

Isabel is at her desk. She closes the textbook she was reading, having just finished her homework.

ISABEL
(to herself)
Done!

She pulls out the school newspaper from her backpack and starts skimming it. She comes across an article about the star athlete of the month--Kyle Valenti. There's a picture and she touches it absently, brushing the picture of Kyle with the tip of her finger.

ISABEL
(thoughtfully, to herself)
Kyle Valenti. Just what are you up to anyway? Why are you suddenly being so friendly?

Isabel starts to smile as a thought comes to her.

ISABEL
(to herself)
OK, Kyle Valenti, man of many facets, let's see how many facets you really have.

Isabel keeps her finger on Kyle's picture, closes her eyes and prepares to dreamwalk him.

Cut to:

  5 EXT. HOUSTON ASTROS' BALLPARK - DAY

Isabel finds herself in the press box, looking down at the ballfield. Kyle is in left field. The pitcher winds up and throws the ball. The batter hits a fly ball that heads straight for left field. It looks like a home run for sure, but Kyle makes a spectacular play and saves the day. It's the third out of the ninth inning and the Astros win! The crowd goes crazy and Kyle's teammates carry him off the field on their shoulders.

Back to scene:

Isabel breaks from the dreamwalk with a bored expression on her face.

ISABEL
(rolling her eyes)
It figures.


END OF TEASER


  ROSWELL: WHAT MIGHT HAVE BEEN - "Don't Tell Mama" - ACT I - 06/20/02

ACT I


  6 INT. BITTER LAKE GAZETTE OFFICE - MORNING

Larry is seated in the visitor's chair by a reporter's desk. The reporter is perusing a file. He looks up with a perturbed look on his face.

REPORTER
I can't believe I came in early for ... this! I thought you had something.

He closes the file and tosses it back to Larry.

LARRY
I do! Didn't you read this thoroughly? It's obvious there is a cover-up going on here. I know Hubble didn't leave alone that night.

REPORTER
I need more than supposition to run with a story like this; I need hard evidence.
(beat)
Maybe you can get a deputy to corroborate your suspicions, like--has the sheriff ever done anything else that seemed off. You know what I mean? Get me some real evidence or an eyewitness; then we can talk.

Larry opens his mouth to argue then stops as the reporter's words sink in. He pauses then nods, deep in thought.

Cut to:

  7 INT. LIZ PARKER'S BEDROOM - 15 MINUTES LATER

Liz is packing last minute items into her backpack for the school day ahead. She stops in front of the mirror to adjust her Crashdown uniform collar and put a few stray strands of hair back into place before she puts the packed backpack onto the desk chair. As she hurriedly leaves her room to head downstairs and start her early morning shift, the camera pans in on the list of Max's good qualities that lies on her desk next to a picture of Max in a heart-shaped frame.

Cut to:

  8 INT. CRASHDOWN CAFÉ -CONTINUOUS

Nancy is behind the counter, filling sugars. Liz comes in from the back. She goes up to the counter and stops opposite her mother, crossing her arms and resting them on the counter.

LIZ
I'm reporting in.

Nancy glances up and notices the determined look on Liz's face.

NANCY
You look like you have something to say.

LIZ
I do. I came to a decision and I'd like to discuss it with you.

NANCY
(smiles wryly)
And what might that be about ... as if I didn't know?

Liz looks down as she reaches into her apron pocket. It is obvious she cannot find what she is looking for.

LIZ
(disconcerted)
Shoot! I must have left it upstairs.

NANCY
Left what upstairs?

LIZ
My li--

Liz is interrupted by the sound of the front door opening. Both she and Nancy turn to see Amy entering, carrying several pie boxes.

AMY
(enthusiastically)
Morning!

Amy carries the boxes to the counter and deposits them there.

NANCY
Morning, Amy. How's it going?

AMY
Very well, actually. There is a store in Albuquerque that is interested in some of my little trinkets. I'll be driving up there this weekend to meet the owner, which of course gives me and Maria an excuse to go shopping!

LIZ
Shopping in Albuquerque? What fun!

AMY
Liz, why don't you come too?

Liz glances at her mother, then back at Amy. Her demeanor changes dramatically.

LIZ
(sadly)
That's not an option.

AMY
(realizes her faux pas)
Oh, that's right, you're grounded! I'm sorry, I didn't mean to flaunt our trip in your face. Here, let me give you something to make you feel better.

She starts looking through her purse.

LIZ
That's okay, Mrs. DeLuca. Maria's already offered me aroma--

Amy pulls a chocolate bar out of her purse and hands it to Liz.

AMY
(triumphantly)
Here!

Liz smiles at this unexpected twist. As she reaches for the chocolate bar, her attention is caught by the sight of Max driving slowly by in his Jeep. Amy turns to see what she is looking at. As Max disappears from view, Liz heaves a big sigh, and takes the candy bar.

LIZ
(despondent)
Thanks, I can really use this right now.
(to Nancy)
I need to run upstairs. I'll be back in a few minutes.

Liz exits out the swinging door.

AMY
Why did seeing Max drive by make her so sad? Did they have a fight?

NANCY
No, she's not allowed to see him.

AMY
Oh, right, while she's grounded.

NANCY
No, she's not allowed to see him anymore.

AMY
Why don't you want her to see Max, or is that too personal? I don't mean to pry.

NANCY
No, that's OK. I'm sure you'll understand. Jeff got all bent out of shape when she skipped out on her grounding with Max. Until she started seeing Max, we always could trust her, but now ...
(sighs)
Jeff thinks Max is a bad influence; I think it's just that she's at that age when your emotions are making your decisions for you. A cooling off period will do her a lot of good.

Amy nods, understandingly.

NANCY (cont'd)
(enthusiastically)
Now, let's see what you brought today!

Nancy opens the pie boxes.

NANCY (cont'd)
Oh good, you brought an extra Men In Blackberry; we're always running out of that one.
(beat)
I guess we're all set then. We agreed that you would invoice us on a monthly basis from now on, right?

AMY
Right, it just makes it so much easier. Oh, by the way, the alien-head picks you ordered should be in today; I'll bring them by this afternoon.

They both turn at the sound of the front door opening. Larry comes in, looks around quickly, then looks towards Nancy with a questioning expression on his face.

NANCY
(to Larry)
Jen is in the kitchen.

Larry hesitates.

NANCY (cont'd)
You can go back there to see her.

LARRY
Thanks.

Larry heads out to the back room to get to the kitchen. Amy turns her attention back to Nancy.

AMY
Jen? Who's Jen?

NANCY
Our new waitress; that was her husband Larry.

The look on Nancy's face gives away her opinion of him.

AMY
(assessing the situation)
Not one of your favorite people?

NANCY
(not meaning to be that obvious)
Oh ... no ... it's just that he's so ... intense. I don't mean to imply that there is anything wrong with him; he just rubs me the wrong way.
(beat)
But Jen is real nice.

Amy glances towards the pass-through window into the kitchen and sees Jen with Larry.

AMY
(musing)
I've seen her before. Where have I seen her?
(thinks for a moment)
Oh, I remember. It was during the Convention, when I came in here to drown my sorrows in milkshakes. We got to talking about men and their obsessions.

NANCY
(smiling)
I bet that was an interesting conversation.

AMY
(remembering)
Yes, it was. I wonder if Larry is the guy who she said was obsessed?

Nancy glances in the direction of the pass through window at Larry, then back at Amy.

NANCY
(with assurance)
I'm guessing ... yes!

Cut to:

  9 INT. CRASHDOWN KITCHEN - CONTINUOUS

LARRY
So he says if I can get a deputy or eyewitness to corroborate my suspicions, then he might run with the story.

JEN
That's great, Larry. See, I knew someone else would be interested.

LARRY
He's not interested yet; not until I get more information.
(beat)
And do me a favor--don't jinx it this time by telling anyone what I'm doing.

JEN
(frowns, hurt by his accusation)
What should I say if anyone asks how your newspaper story is going? As you just pointed out, I've already mentioned it to others.

LARRY
Tell them... tell them I'm working on a book about life in Roswell. That the newspaper industry is just too fickle for my taste.

Cut to:

  10 INT. CRASHDOWN CAFÉ - SAME

AMY
By the way, where's Maria? I thought she was working this morning.

NANCY
Did she tell you she was?

AMY
No, she doesn't tell me much of anything lately.

NANCY
Trust me, I can relate.

AMY
It's just that when I got up this morning, she was already gone and her bed was made. She never gets up early if she doesn't have to go to work.
(beat)
Where could she have gone? I can't imagine her getting up early for school work.

NANCY
(chuckles, then turns serious)
Michael probably knows where she is. Nowadays, their boyfriends know more about them than we do. If you're concerned, you could try calling his apartment.

Nancy notices Amy's stricken look.

NANCY (cont'd)
What? What's wrong?

AMY
Did you say his apartment?

NANCY
Yes.

AMY
He has his own apartment now? When did this happen? How do you know about it?

NANCY
We just hired him last week as our part-time cook. He starts this afternoon actually.

AMY
(surprised)
He seems young to be a cook.

NANCY
Yes, and we would have preferred someone with more experience, but when Liz heard that Jose was moving out of state, she practically begged us to give Michael a chance. She told us he was recently emancipated, so he has to provide for himself, pay for his apartment, etc.
(smiling)
She promised us he knows enough not to burn the place down.
(beat)
I take it that Maria didn't tell you that her boyfriend has his own place?

AMY
(sarcastically)
No, she didn't. Must have slipped her mind.

Cut to:

  11 INT. MICHAEL'S APARTMENT - 10 MINUTES LATER

Michael is sitting at his kitchen counter, eating from a cereal bowl. The phone rings and he reaches to pick up the receiver.

MICHAEL
Hello.

AMY (VO)
May I speak to Maria please?

MICHAEL
Hold on, let me see if she's out of the shower yet.

Cut to:

  12 INT. DE LUCA KITCHEN - CONTINUOUS

Amy holds the receiver away from her and looks at it in shock.

MICHAEL (VO)
(shouting)
Maria! Telephone!

Cut to:

  13 INT. MICHAEL'S APARTMENT - CONTINUOUS

Maria comes into the kitchen, from the bathroom, in a robe and with a towel wrapped around her hair.

MARIA
Who is it?

MICHAEL
(abruptly)
I don't know.
(unsure)
Was I supposed to ask?

Maria picks up the receiver that Michael left on the counter.

MARIA
Hello?

AMY (VO)
Maria! Kitchen! NOW!

MARIA
(shocked)
Mom!?
(looks at Michael in panic, points to receiver and mouths to him)
It's my mom.

MICHAEL
(to himself)
I was supposed to ask.

AMY (VO)
Get home THIS MINUTE!

MARIA
Mom, I have to be at school in 20 minutes, and I'm not even dressed yet.

Maria bites her tongue, realizing she has just released way too much information. The silence on the other end of the phone is deafening. Maria gestures toward her purse. Michael hands it to her. She pulls out her cypress oil.

Cut to:

  14 INT. DE LUCA KITCHEN - CONTINUOUS

Amy is inhaling cypress oil. There's a pause, as she lets it take effect. It doesn't; she's still upset.

AMY
I want you to come home straight from school!

Cut to:

  15 INT. MICHAEL'S APARTMENT - CONTINUOUS

MARIA
Um ... Mom, I have to work on a school project after school.

Cut to:

  16 INT. DE LUCA KITCHEN - CONTINUOUS

Amy realizes she is losing her advantage here.

AMY
Well then right after that! Do you hear me!?

Cut to:

  17 INT. MICHAEL'S APARTMENT - CONTINUOUS

MARIA
(meekly)
Um ... I have the dinner shift at the Crashdown tonight.

Cut to:

  18 INT. DE LUCA KITCHEN - CONTINUOUS

AMY
(defeated but still trying to put up a good front)
Fine! Then right after work!

Cut to:

  19 INT. MICHAEL'S APARTMENT - CONTINUOUS

MARIA
Yes, Mom, right after work. I'll be there!

Cut to commercial.

END OF ACT I


  ROSWELL: WHAT MIGHT HAVE BEEN - "Don't Tell Mama" - ACT II - 06/20/02

ACT II


  20 INT. WEST ROSWELL HIGH SCHOOL HALLWAY - 20 MINUTES LATER

Maria, Alex and Liz are walking down the hallway, heading towards their lockers. Maria has obviously been filling them in on what happened.

MARIA
I mean, how did she even find out!? God, I am so dead when I get home today.

LIZ
Maybe it won't be so bad. Your mom is pretty in tune; she remembers what it was like to be a "teenager in love".

MARIA
That's what I'm afraid of.

They reach Maria's locker. She opens it and a paper falls out. It's a flyer for the spring dance. Maria picks it up quickly and shoves it back in the locker.

LIZ
Maria, I know there's a dance coming up.

Liz gestures at the posters advertising the "Spring Blast-Off", dotting the walls.

LIZ (cont'd)
Just because I can't go with Max, doesn't mean you have to hide the fact that you want to go.

MARIA
Are you sure?

LIZ
Absolutely. Why should your lives be ruined? I want you and Alex to go to the dance and have a great time. That way, I can live vicariously through you.

Liz smiles weakly, trying to show them she is sincere.

ALEX
In that case, we'll be sure to have a great time for you.

Liz laughs, a genuine laugh. Alex smiles, pleased to have cheered her up a bit.

LIZ
(to Maria)
So, are you and Michael going to the dance together?

MARIA
Assuming I'm still alive and not grounded or forbidden to see him? Definitely!
(beat)
He's got over a month. That should be long enough for him to notice the posters.
(pause)
I think.

ALEX
I'm pretty sure I have a good chance at going with Isabel. Did I tell you that she kissed me last week?
(beat)
Twice?

MARIA
(teasing)
Just a million times.

ALEX
Oh ... well, anyway, I think the Whitman charm is finally starting to work on her.

MARIA
(pause, concerned)
Just don't get your hopes up too high. You know how fickle she can be. She's left a trail of broken hearts throughout these corridors.

ALEX
Yeah, but that was because she couldn't afford to get close to anyone, because they might find out about ... you know. But I already know about that, so she has nothing to lose with me.

MARIA
I hope you're right, buddy. I really do.

The bell rings and they all head for class.

Cut to:

  21 EXT. WEST ROSWELL HIGH SCHOOL QUAD - DAY

Liz and Max are having lunch at different tables, gazing longingly at each other. Max is alone, but Maria is sitting with Liz, busy eating her sandwich. Alex comes upon the scene and shakes his head in sympathy. He heads for Max's table and sits down. Max turns towards Alex, and Liz turns her attention to her own sandwich and Maria. Alex places his lunch bag on the table, but doesn't open it.

MAX
Aren't you gonna eat?

ALEX
I'm having lunch with Isabel. She had to run an errand off campus, so I'm meeting her in the park in half an hour.

Alex notices that Max hasn't touched his sandwich.

ALEX (cont'd)
Looks like you don't have much of an appetite.

Max looks down at his uneaten sandwich and smiles sheepishly.

MAX
I was, um ... distracted.

He picks up his sandwich and takes a bite.

ALEX
(glancing at Liz's table, then back at Max)
I knew you should have knocked on wood when you uttered those fateful words "Our parents never bother us when we are studying."

Max gives Alex a slightly embarrassed smile and shrugs.

ALEX (cont'd)
(hesitantly, not wanting to pry)
Did they ... um ... did they explain how they found out that you and Liz were AWOL?

MAX
Yeah, it seems my mother was concerned that I might be brooding about Liz, and came by my room to talk to me about it. When she discovered I wasn't there, my father decided to find out if my “partner in crime” had also gone over the wall, so he called the Parkers.

ALEX
Ah! And they, in turn, discovered that Liz was missing.

MAX
Yeah, and invited my parents over to discuss what should be done about it.

ALEX
(wincing)
Ouch!
(beat)
But saying you can never see each other again ... that seems kind of drastic, just for skipping out on your grounding.

MAX
Our parents decided that since we were "model students and kids" before we started dating, we must be a bad influence on each other, and perhaps we shouldn't see one another.

ALEX
Bummer.

Max looks longingly at Liz again, who senses his shift in attention and turns back to look at him.

MAX
Yeah.

Maria captures Liz's attention and Max turns back to Alex.

MAX (cont'd)
But I have hope that things will get better.

Cut to Liz and Maria:

LIZ
So, I don't know why I didn't think of it before. I just have to show my parents what a wonderful guy Max really is--

Cut to Max and Alex.

MAX
Once they get to know her, they'll realize that she's warm, loving, kind, considerate, intelligent, responsible--

Cut to Liz and Maria:

LIZ
... caring, compassionate, smart, level-headed ... well, really, how can they not like him? Right?

MARIA
Absolutely! You'll have them seeing the light of day in no time.

LIZ
(sighs)
It's just the waiting that's the hard part.

MARIA
Well, at least you'll be able to spend time with him today. Luckily the promise you made to your parents, to stay away from each other, didn't include teacher-assigned projects.

LIZ
Yeah, I should bring Mr. Seligman an apple when we go to the lab this afternoon for our science project.
(giggling)
It's the least I can do, considering he's acting as our Friar Lawrence, without even realizing it.

MARIA
(giggling)
OK, Juliet, just remember, our project this afternoon is NOT to make a sleeping potion!

The two of them get into a giggling fit. Michael enters the quad and joins Maria and Liz.

MICHAEL
Hey.

MARIA
(smiling up at him)
Hey right back atcha!

She looks at Michael expectantly. He stares at her, nonplused, not sure what he's forgotten to do. Something dawns on him and he leans down and gives her a peck on the cheek. She's pleased with the public display of affection, but still seems to be expecting something else. Uncomfortable, Michael starts looking around self-consciously, and notices a poster for the dance. He stares at it momentarily. Now he knows for sure what she's expecting and he becomes even more nervous, bites his lower lip, and purposely avoids looking her in the eye.

MICHAEL
Um ... look ... um, I forgot, I have to be someplace. See ya.

Michael takes off. Maria looks shocked. Max, who had been watching, looks puzzled. He gets up.

MAX
(to Alex)
Um ... I'm gonna see what that was all about.

ALEX
Sure, I have to go meet Isabel anyway.

Alex leaves. Max tosses the remainder of his lunch in the trash can, then follows Michael, giving Liz a slight wave and a smile as he passes her.

MARIA
(sputtering; at a loss)
What ...? Did ...? I don't believe it! He looked right at that poster ... I know he did. And then he just takes off. That's ... that's ... a classic case of avoidance.

Liz reaches out, touches Maria's arm, and looks her in the eye.

LIZ
(reassuringly)
I'm sure there's a reasonable explanation for it. Max is probably with him right now. If anyone can get Michael to talk about what's bothering him, it's Max. I'm sure he'll find out what's wrong.

MARIA
(dejectedly)
You're right. I'm sure there is a reasonable explanation. Like going to the dance is too “intense” for him.

Liz pats her arm in sympathy.

Cut to:

  22 INT. WEST ROSWELL HIGH SCHOOL CORRIDOR - MOMENTS LATER

Michael goes into the boys' room; Max follows.

Cut to:

  23 INT. WEST ROSWELL HIGH SCHOOL BOYS' ROOM - CONTINUOUS

Michael is at one of the urinals when Max comes in. Max steps up to the empty one on Michael's left. Max and Michael look straight ahead.

MAX
Hey.

MICHAEL
Hey.

MAX
You OK?

MICHAEL
Yeah. Why?

MAX
You just seemed kind of nervous back there, and you left rather abruptly.

MICHAEL
I had to go. That's not something that can wait.

They both finish and head to the sinks to wash their hands.

MAX
Are you sure that's all?

MICHAEL
Yeah, I'm sure.

MAX
Because if something's bothering you, you know you can talk to me, right?

MICHAEL
Yeah, but nothing's bothering me.

MAX
OK.

MICHAEL
OK.
(pause)
I can't dance.

MAX
Huh?

MICHAEL
I can't dance. I know Maria wants me to ask her to the dance, but I can't dance and I don't want to make a fool of myself. That's what's bothering me. There, are you happy now?

MAX
I ... um ... Happy isn't the word I'd use.
(beat)
Why don't you just tell Maria the truth?

MICHAEL
No! I don't want her to know. And you have to promise me you won't tell her! Or Liz!

MAX
OK. OK.
(beat)
What are you gonna do?

MICHAEL
I don't know.
(beat)
You don't suppose there's any chance she'll decide she doesn't want to go?

MAX
(shaking his head)
Noooo ... I wouldn't count on that.
(pause)
Why don't you ask Isabel to teach you?

MICHAEL
Do you think she would?

MAX
Only one way to find out.

(beat)

MICHAEL
What do you think it will cost me?

MAX
Depends on what she needs at the time.

MICHAEL
(rolling his eyes)
Oh great!

Cut to:

  24 EXT. ROSWELL CIVIC PARK - MOMENTS LATER

Isabel and Alex are sitting on a bench, looking through one of the local weekly newspapers; the remains of their lunches beside them.

ISABEL
I didn't find anything. Did you find anything?

ALEX
No, nothing.

They both relax as Isabel folds the paper.

ISABEL
So, I think that covers all the weekly papers.

ALEX
Right. We checked the Roswell Weekly Record on Monday, the Bitter Lake Gazette on Tuesday--

ISABEL
(gesturing with the folded paper)
And the Hondo Reporter today. Do you think we can relax? Do you think we killed Larry's Hubble story?

ALEX
I can't imagine any of the daily papers being interested; I've been checking them just in case, but haven't seen anything. So I'd say it's looking good.

ISABEL
(sighs)
God, I hope so.
(beat)
I just want things to get back to normal.

Alex decides this would be a good time to mention the dance to Isabel.

ALEX
So, did you notice the posters advertising the "Spring Blast-Off"?

ISABEL
Yeah, they're hard to miss. I think they have them on every wall in the school.

ALEX
Guess they want to make sure they get a good turnout.

ISABEL
I guess.

ALEX
Are you planning on "turning out" for it?

ISABEL
I hadn't given it much thought.

ALEX
Because I was thinking it might be kinda nice for us to go to it ... you know ... together.

ISABEL
Oh.

ALEX
(disappointed at her lack of enthusiasm)
It's just that ... when you kissed me last week ... I thought that meant you liked me. So I thought you'd like to go to the dance ... together. Guess I was wrong. Sorry, I didn't mean to create an awkward situation.
(under his breath)
I should have listened to Maria.

ISABEL
No, I'm the one who should apologize. I'm sorry, Alex, I didn't mean to confuse you, or to make you feel awkward. I do like you. I really do. It's just that ... I need to take this slow. I'm not ready to make a commitment or long range plans. The dance is over a month away. I don't know how I'll feel, or even where I'll be a month from now. Do you mind if we just start with going to the movies--
(smiling)
for real this time?

Alex is disappointed, but understands. He manages to smile back.

ALEX
(nodding)
Sure ... A movie sounds good.

ISABEL
Just no Fellini films.

ALEX
(laughing)
I promise, no Fellini.

ISABEL
And I'm not saying no to the dance. I just need time to think about it, OK?

ALEX
(smiling; there's still hope)
Take all the time you need.

Alex's attention is drawn across the street. Isabel notices and turns to see what he is looking at. It's Larry Trilling; he's going up to people, talking to them briefly and then moving on to the next.

ALEX
What do you suppose he's up to?

ISABEL
I don't know, but something tells me he's not running for mayor.

One of the people Larry was talking to heads into the park in their direction. Alex knows him and calls out.

ALEX
Hey, Chris.

Chris looks in his direction; Alex waves him over.

ISABEL
Isn't that the drummer in your band?

ALEX
Yeah, so we should be able to find out what Larry is up to.

Chris reaches them.

CHRIS
Hey.

ALEX
Hey.

CHRIS
What's up?

ALEX
(trying to sound casual)
Nothing. Saw you across the street and just wanted to say hey.
(beat)
So, how long have you known Larry Trilling?

CHRIS
Who?

ALEX
Larry Trilling. The guy you were talking to.

Chris turns to look across the street and sees Larry still talking to people.

CHRIS
(pointing to Larry as he speaks)
You mean him? The guy with the tape recorder?

At the mention of the tape recorder (not having noticed it before) Isabel and Alex turn their heads quickly to look at Larry. A concerned look briefly crosses Isabel's face, but fades quickly when she turns back to look at Chris as if nothing is wrong. Alex too, tries to remain casual about it.

ALEX
Um ... Yeah.

CHRIS
I don't know him at all.

ISABEL
(innocently)
So what were you talking to him about?

CHRIS
Oh, he's doing research for a story on living in Roswell. He asked me how long I've lived here and did I ever notice anything strange here?
(rolls his eyes)
You know, the usual crap. I told him I didn't have time for that and that he's whacked if he thinks he's the first person to write a story about strange things happening in Roswell!

Chris laughs and Isabel and Alex join in.

CHRIS (cont'd)
I've gotta go. I'll catch up with you later, man.

ALEX
Yeah, see ya.

Chris leaves.

ALEX
Do you think Larry has moved on to other stories?

(pause)

ISABEL
No. What do you think?

Alex collects their trash and brings it to a nearby trash can, talking as he walks.

ALEX
I'm not sure. I think, to be safe, we should have Liz and Maria question Jen, to see if they can find out for sure.

ISABEL
(under her breath)
Yeah, safe. Wouldn't it be nice if we could be safe?

Alex does not hear Isabel's comment. He finishes throwing away the trash, brushes off his hands, and looks at his watch.

ALEX
Time to head back.

He holds out the crook of his arm.

ALEX
(smiling)
May I escort you to class, my lady?

Isabel smiles back. She gets up and takes his arm.

ISABEL
Thank you, kind sir.

Isabel laughs lightly and they head back to school. As they exit the park, the camera pans over to the sheriff's police cruiser. Valenti is sitting in the cruiser, sipping coffee from his thermos. He watches Alex and Isabel exit the park, then turns to watch Larry interview people as they pass by.

Cut to commercial.

END OF ACT II


  ROSWELL: WHAT MIGHT HAVE BEEN - "Don't Tell Mama" - ACT III - 06/20/02

ACT III


  25 INT. CRASHDOWN CAFÉ - DAY

It's the middle of the afternoon, so there are only a few customers. Jeff and Nancy are behind the counter; they look up when the front door opens. Diane Evans comes in, sees them, smiles and heads for the counter. Nancy and Jeff also smile at her approach.

NANCY
Diane! I'm so glad you could drop by.

DIANE
Your phone call suggesting we discuss Max and Liz came at an opportune time.
(smiling)
Max started working on me last night, and again this morning, on Liz's many fine qualities.

JEFF
Talk about coincidences! This morning, Liz was trying to convince us that Max is responsible, caring, compassionate, smart ...
(to Nancy)
What am I forgetting?

NANCY
Kind, thoughtful ... I'm not sure of the rest.
(to Diane)
Liz made a list.

Diane laughs lightly.

DIANE
They definitely seem to be on the same wave length.
(beat)
Max made a valid point, though. We don't really know Liz, and you don't know Max. Maybe we should make an effort to get to know them better, before imposing an--
(she smiles as she says the next part)
edict, as Max calls it, that they can't see one another.

Jeff and Nancy smile at Max's choice of words as well. Jeff thinks about it and nods.

JEFF
I think that has possibilities. Liz was telling me the same thing. She said that if I got to know Max, I would realize that I can trust him, and trust him with her.
(beat)
Why don't we move to a booth, to get comfortable, and talk about this some more. Would you like some coffee?

DIANE
I'd love some.

As they all move over to the last booth in the back, the camera cuts to the pass-through window to the kitchen, where we see Michael is very interested in their conversation.

Cut to:

  26 INT. WEST ROSWELL HIGH SCHOOL HALLWAY - DAY

School has let out, so the corridors are almost empty. Max is walking down one, alone. Maria rounds a corner and sees him up ahead. She calls out.

MARIA
Max!

Max stops and turns. He smiles when he sees Maria and waits for her to catch up.

MARIA (cont'd)
Hi.

MAX
Hi.

MARIA
Heading to the lab to work on our project?

MAX
Uh huh.
(teasing)
I thought it might be a good idea since we all agreed to meet there in ...

(looks at his watch)

MAX (cont'd)
Five minutes.

MARIA
(feeling a little foolish, but trying to cover)
Right! Mind if I join you?

MAX
No. Why would I mind?

They start walking.

MARIA
Um ... well ... I thought maybe you might want to be alone. I don't know, just thought I'd ask, being polite and all ...

MAX
(looks at her funny)
Are you OK? Is something on your mind?

MARIA
I'm that transparent, huh?

MAX
Yeah.

MARIA
It was the babbling and inane questions that gave me away, right?

MAX
(smiling)
Kinda.

MARIA
OK, I'll get right to the point. What's wrong with Michael? I know you followed him after he split so suddenly at lunch. What did he tell you? Is it me? Did I do something wrong? What? What is it?

MAX
(sorry that he opened this can of worms)
Oh ... um ... nothing's wrong. What makes you think something's wrong?

Maria gives him a "give me a break" look.

MAX (cont'd)
OK, he did act a little strange. But really, nothing's wrong. He just ... it's just ...

Torn, not knowing what to do or say, Max sighs heavily, then stops. Maria stops and turns to look at him. He puts his hands on her upper arms and looks her in the eye.

MAX (cont'd)
I can't betray a confidence, but I assure you, everything is OK. You haven't done anything wrong. You just need to be patient. OK?

MARIA
(nods and sighs)
OK, I guess I can try, although patience isn't really one of my virtues.
(beat)
Sorry about the babbling.

They continue walking towards the lab room. Max puts his arm around her shoulder and gives it a little squeeze.

MAX
Don't worry about it. You had every right to babble. Michael can have that effect on people sometimes.

They both exchange a knowing smile, as they continue walking.

Cut to:

  27 INT. CRASHDOWN BACK BOOTH - A FEW MOMENTS LATER

Jeff, Nancy, and Diane are still seated in the booth. Jeff looks up when the front door opens. Amy enters carrying a box. Jeff smiles and motions to her to come join them. She smiles and heads towards the back booth. In the background we see that Kyle and his friend Tommy have entered behind her and head for the counter. Jen goes over to take their order. Michael notices the new arrivals and ducks out of the way when he sees Amy. We will periodically see him in the background trying to eavesdrop on the parents' conversation, keep an eye on Kyle and stay out of Amy's sight, all at the same time.

NANCY
(to Amy, indicating box)
Are these the alien-head picks?

AMY
Yes, two gross, just like you ordered.

JEFF
Great, they came just in time. We were running low.

Amy hands him the box.

JEFF (cont'd)
Why don't you join us. Have you met Diane Evans?

Amy sits next to Diane.

AMY
No, I don't believe I have.

NANCY
(making the introductions)
Diane, this is Amy DeLuca, Maria's mom. Maria is one of Liz's best friends. Amy, this is Diane Evans, Max's mom.

AMY
(smiling)
Max, huh?

DIANE
You know my son?

AMY
I know of him. Liz is very fond of him.
(extending her hand)
I'm very pleased to meet you.

DIANE
(smiling; taking her hand)
Likewise.

Cut to:

  28 INT. WEST ROSWELL HIGH SCHOOL LAB ROOM - SAME

Max and Maria step into the room. Alex and Liz are already there, as are Mr. Seligman, who is busy correcting papers (there is an apple sitting conspicuously on the corner of his desk), and a few other students working on their projects. Alex rushes up to Maria.

ALEX
(to Maria)
Do you have the rock samples?

MARIA
Can I put my stuff down first?

She goes to the lab table and places her backpack on it. She starts going through her pack but doesn't find the samples immediately.

MAX
(worried)
You did remember to bring them, right? We can't do the experiment without them.

MARIA
Relax! After all the trouble these rocks caused me, I was damn sure I brought them with me.

She finds them and pulls them out of her pack.

ALEX
Well, if you hadn't waited until this morning to get them ...

Maria gives him a look like she doesn't want to hear it.

LIZ
Alex is right, you know. It would cause you fewer problems if you planned ahead, instead of waiting until the last minute.

MARIA
Et tu, Liz?

Maria looks at Max, who nods in agreement with Liz and Alex.

MARIA (cont'd)
Great! It's not bad enough that I'm gonna get it from my mother, I'm gonna get it from you, too. How did I end up with best friends who are so a--
(smiling as she corrects herself)
plan-oriented? I bet you all had your contributions to the project a week in advance, right?

LIZ
(smiling, teasing)
What can I say? We plan ahead; and if you had "planned ahead", then your mother wouldn't have discovered you at Michael's this morning.
(seriously)
Why did you keep it a secret from your mom, that Michael has his own place?

Cut to:

  29 INT. CRASHDOWN CAFÉ - CONTINUOUS

Jeff, Nancy, Diane, and Amy are sitting in the booth near the back of the Café. Jen is pouring them coffee.

NANCY
Thanks, Jen.

Jen smiles, then goes to refill another customer's cup, taking the box of alien-head picks with her.

NANCY
(curious)
So, Amy, did you find Maria?

DIANE
(concerned)
Was she missing?

AMY
(to Diane)
No, wayward.
(to Nancy)
Unfortunately, I did find her ... at Michael's.

NANCY
(wincing)
Oooh. What was her excuse?

AMY
I don't know yet. We never got to discuss it. Her schedule is so tight today, that I won't see her till this evening.
(beat)
It might be just as well. It gave me a chance to calm down.

Amy pauses to sip her coffee.

AMY
(cont'd)
I've also had a chance to reflect on how I feel about it. Although I'm nervous about what Maria might tell me she did while she was there, I realize that Maria not telling me about Michael's apartment, is what bothers me the most. Why didn't she think she could tell me the truth?

DIANE
(with a touch of sadness)
They think we can't handle the truth, that we will overreact.

Cut to:

  30 INT. WEST ROSWELL HIGH SCHOOL LAB ROOM - SAME

MARIA
(shrugs)
I don't know. I guess I just figured she would overreact and wouldn't understand that nothing was happening. You remember how she overreacted when she discovered Michael slept over in my bed, and that was totally innocent.

LIZ
Yeah, they think all we ever think about is sex!

Cut to:

  31 INT. CRASHDOWN CAFÉ - CONTINUOUS

DIANE
I think I need to catch up here. What is Maria's connection to Michael?

NANCY
Maria is Michael's girlfriend and she never told Amy that he has his own apartment now.

DIANE
Ohhhh!

AMY
My feelings exactly! You remember what it's like as a teen. All you can think about is being with that special person in your life. Wishing you didn't have to go to separate homes each night; wondering what it would be like if you lived together. Now Maria has a prime opportunity to find out!

Cut to:

  32 INT. WEST ROSWELL HIGH SCHOOL LAB ROOM - SAME

MARIA
It's not like I like keeping secrets from my mom, but sometimes it's just easier...
(she glances at Max)
Especially now.

ALEX
You've got that right. I used to tell my mom and dad everything, but now...

LIZ
(to Max, keeping her voice low, so as not to be overheard by the uninitiated in the room; the others follow her example)
It must have been very hard for you, growing up and not being able to open up to your parents.

Max flashes back to Isabel's comments about their mother (From "The Toy House": "She was asking all these questions about you. She said you had secrets.")

MAX
Yeah, it was. And even though it's become a habit now, it's still hard. Sometimes I think I'd give anything to be able to tell them the truth, but I just can't take that risk; not only to my own safety, and Michael and Isabel's, but my mom and dad's as well. Unfortunately, the more you know, the more at risk you become.
(beat)
I'm ... I'm sorry that I've put you all at risk ... I'm sorry I've made you lie to your parents.

Cut to:

  33 INT. CRASHDOWN CAFÉ - CONTINUOUS

AMY
What disturbs me the most are all the secrets lately. Maria used to tell me everything, I used to be the one she told her secrets to, but now ...
(heavy sigh)
now I'm the one she keeps her secrets from.

NANCY
Don't feel bad; you're not alone. Jeff and I know for a fact that Liz is keeping secrets from us, but what can we do, short of reading their diaries?

AMY
We definitely don't want to take it to that extreme--that's such an invasion of privacy.

JEFF
I agree, but what if that's what it takes to protect them?

Cut to Michael, eavesdropping. He's disturbed by the turn of the conversation.

Cut to:

  34 INT. WEST ROSWELL HIGH SCHOOL LAB ROOM - SAME

There's a chorus of "no"s, "that's nonsense", etc. from Liz, Maria and Alex.

ALEX
Hey, man, really ... you have nothing to apologize for. None of what's happened, or what we've had to do, is your fault.
(beat)
And we will continue to stand by you because we want to, because we are your friends, not because of ...
(he looks at Liz)
any sense of obligation.

Liz nods in fervent agreement. Alex turns back to Max, puts his hand on his shoulder and looks him in the eye.

ALEX (cont'd)
Your secret is safe with us, no matter the risk. You got that?

There are nods of agreement from Liz and Maria. Max is truly touched by their display of friendship.

MAX
(smiling)
Yeah. Thanks.

Cut to:

  35 INT. CRASHDOWN CAFÉ - CONTINUOUS

DIANE
We can't expect them to tell us everything that happens to them.

The others look surprised.

DIANE (cont'd)
Do we tell them everything about ourselves?

JEFF
We're the adults.

DIANE
In less than two years they'll be adults. Think about it; do you plan on suddenly revealing all your deep, dark secrets to your kids on their 18th birthdays?

Nancy starts laughing. The others look at her, curious.

NANCY
(to Jeff)
If you do, let me know. I'd love a front row seat for that!

Knowing looks pass between Nancy and Jeff. Jeff chuckles and shakes his head.

JEFF
No, I think I'll pass.

DIANE
(smiling)
I take it you weren't exactly an angel, growing up?

NANCY
You take it right!
(looks at Jeff with teasing affection)
Which is why he sometimes assumes the worst where Liz and Max are concerned. I keep reminding him that he turned out to be responsible and level-headed, and so will they.

Cut to:

  36 INT. CRASHDOWN - PASS-THROUGH WINDOW - CONTINUOUS

Michael is still eavesdropping on the conversation and watching Kyle.

Cut to:

  37 INT. CRASHDOWN STOREROOM - SAME

Jen is in the storeroom, which is on the other side of the kitchen wall, putting away the alien- head picks. She accidentally knocks over a ladder, which hits the wall--the same wall that the kitchen grill is on.

Cut to:

  38 INT. CRASHDOWN - KITCHEN - CONTINUOUS

Michael turns at the sound, in time to see the items on the shelf over the grill bounce once from the vibration. Luckily they all remain on the shelf, except for one--an open box of baking soda-- which is about to fall onto the burgers on the grill. He's not close enough to catch the box, but he steps forward, hand outstretched, in a vain attempt to do so. He is stunned when the box is deflected by a slight burst of energy, and its contents end up on the floor instead of the grill. Michael's mouth drops open and he just stares at the mess on the floor for a beat, then at his hand, then back at the baking soda. Realization hits and he quickly spins around to see if anyone observed his actions through the pass-through window; in particular--Kyle. No one, including Kyle and Tommy who are engrossed in their conversation, seems to have been paying any attention. Michael breathes a sigh of relief, but he's still a little shaken by the episode as he goes to clean up the mess in the kitchen. The camera cuts back to Kyle, who is looking at the now vacant pass-through window, with an enigmatic look on his face.

Cut to commercial.

END OF ACT III


  ROSWELL: WHAT MIGHT HAVE BEEN - "Don't Tell Mama" - ACT IV - 06/20/02

ACT IV


  39 INT. WEST ROSWELL HIGH SCHOOL LAB ROOM - DUSK

The other students have left the room. Max, Liz, Maria and Alex are packing up their things, having finished their project.

SELIGMAN
Are you about done?

LIZ
Yeah, we just need a few minutes to put things away.

SELIGMAN
Well, I think I can trust you not to blow anything up if I leave now, so I'm going to take off.

He picks up his things, including the apple.

SELIGMAN (cont'd)
(to all)
Goodnight!

ALL
Goodnight!

The kids continue packing things away.

MARIA
This really turned out well. I bet we even get an A on the project.
(beat as she ponders this)
Imagine, me, getting an A in science! Maybe I should tell my mom that as soon as I get home, so she'll think twice about killing me. Anyway, it was fun working with you guys; we make a great team.

LIZ
(looking at Max fondly)
Yeah, this was fun.

MARIA
OK, OK, get back to packing, girl. We don't want to be late for our shift.

They finish putting everything away. Alex and Maria get their jackets on first and head out the door, Maria calling behind her.

MARIA
Liz, are you coming?

Liz has finished putting on her jacket and is picking up her backpack.

LIZ
I'm coming, I'm coming!

She starts to head for the exit. Max is still at the lab table, putting on his corduroy jacket. He absentmindedly puts his hands in his pockets.

MAX
(surprised and irritated)
Damn!

Liz stops in her tracks and turns towards Max.

LIZ
What!? What's wrong.

MAX
There's a hole in my pocket!

LIZ
(visibly relaxes and approaches him)
Was there anything in your pocket? Did you lose anything?

MAX
I'm not sure. I haven't worn this jacket for several days.

He sighs heavily and seems crestfallen. He doesn't make any move to leave.

LIZ
(concerned)
Max, are you OK? Is there something else? I mean, you seem to be overreacting...

She places her thumb and index finger a pinch apart for emphasis.

LIZ (cont'd)
... just a touch. It's just a hole.

MAX
(looks at her longingly)
It's not the hole in my pocket that has me down ... it's the hole in my life. I'm just ...it's just ... it's just so hard to not be with you.

He raises his arm as if he's about to reach out and touch her hair, then lowers it as he continues.

MAX (cont'd)
To not run my fingers through your hair. To not put my arms around you, and hold you so close that I can feel your heart beating against my chest, as if we were one. To not--

Liz gently places her fingers on his lips, to halt his lament.

LIZ
(lowering her hand)
You mustn't torture yourself, or us, by dwelling on what we can't do. We need to remain positive and focus on what we can do--like convincing our parents how wrong they are.
(beat)
I thought you were hopeful that your parents would give in and let us see each other.

MAX
I was--am. I just wish there was a way to be together, in the meantime, without breaking our promises to our parents. At the time they were so upset ... agreeing to stay apart seemed the best thing to do. I just assumed, once they cooled down, they would change their minds.

LIZ
Yeah, me too.

MAX
But it's taking longer than I thought it would. And ... It's just when I see you, it hits me even more how much I miss you. It's like before, when I thought we could never be together, only now it's worse because now I truly know what I'm missing.

LIZ
I know. It's hard for me too, but you must remain optimistic; I'm sure we'll be together soon.

Maria sticks her head in the classroom.

MARIA
Liz, get a move on or we'll be late for our shift.

Max and Liz look at each other. Liz flexes her muscles and mouths to Max "Be strong". He rewards her with a smile and they all exit the classroom.

Cut to:

  40 INT. ROSWELL SHERIFF'S DEPT - SAME

Deputy Blackwood is behind the front counter. A good-looking man with brown hair, in his mid to late twenties, dressed in a deputy's uniform, is there with him, collecting files. Sheriff Valenti enters and approaches the counter. The younger deputy leaves for the file room with the files under his arm.

VALENTI
(looking in the direction of the file room, but to Owen)
How's our new deputy doing?

OWEN
(glances in the direction of the file room, then back at Valenti)
He asks too many questions.

Valenti smiles, knowing how much that would bother his taciturn friend. Then a look of concern crosses his face.

Cut to:

  41 INT. CRASHDOWN CAFÉ - KITCHEN - 15 MINUTES LATER

Michael, is sweeping the kitchen floor when he notices the clock on the wall--5:45.

MICHAEL
(gratefully)
Finally, time for dinner.

Michael puts the broom aside and gets out the ingredients to make himself a double-decker cheeseburger. He throws a couple of patties on the grill. While he waits for them to cook, he notices the empty baking soda box on the top of the trash, in the trash can. He stares at it, deep in thought, then inconspicuously checks the pass-through window. Kyle and Tommy are gone, as are the rest of the customers. He glances towards the kitchen exit, to make sure there is no one nearby to observe him. When he is sure, he looks around the kitchen for an appropriate object; he focuses on a spoon lying on a table in the kitchen. He takes another quick look around then steps toward the spoon, with his arm outstretched, as if trying to grab it; nothing happens.

Cut to the camera's POV from the kitchen doorway, which Michael's back is to, as Michael repeats the motion two more times. Each time nothing happens.

JEFF (OS)
What are you doing?

Michael jumps a mile, totally wigged out that he was seen; for a split second he thought Jeff knew he had caught him in the act of attempting to use his powers. By the time he turns to look at Jeff he realizes his mistake and the expression in his eyes changes from fright to embarrassment. The camera switches to Michael's POV and we see Jeff standing in the kitchen doorway, whose expression changes from puzzled to slightly amused.

JEFF (cont'd)
Relax, Michael. I don't have a problem with you practicing your ... Tai Chi, or whatever it's called.

He gestures towards the grill.

JEFF (cont'd)
(smiling wryly)
Just don't let the burgers burn, while you get ... mellow.

Michael relaxes and tries to act casual.

MICHAEL
Sure thing, Mr. Parker.

Jeff is about to leave when he notices the shelf above the grill.

JEFF
There's suppose to be a box of baking soda on that shelf ...

Michael tenses.

JEFF (cont'd)
... in case of a grease fire.
(beat)
Be sure to get one from the storeroom and put it on the shelf.

MICHAEL
(appeasingly)
Will do, Mr. Parker. Right away.

Jeff gives Michael a long look, then smiles and leaves the doorway, chuckling and shaking his head. Michael goes over to the grill to flip his burger patties. Jeff heads up the stairs to the apartment on the second floor. As we hear the apartment door close, the back door opens. Maria and Liz come through the back door, a few minutes before their dinner shift begins. Michael sees them and signals for them to come into the kitchen. He is obviously agitated.

MARIA
(as she enters the kitchen)
What? You missed me so much you can't even wait for me to take my jacket off?

MICHAEL
Huh? No. This has nothing to do with that. This is important.

MARIA
(disappointed)
Oh.

LIZ
(concerned)
What's important? What's happened?

MICHAEL
(lowering his voice, so as not to be overheard)
It's your parents.

LIZ
(panicking)
What!? What happened? Are they all right? Are they hurt?

MICHAEL
Huh? No, they're fine! Will you two stop jumping to conclusions. And keep your voices down!

LIZ
(lowering her voice)
Sorry! Will you just tell us what's so important?

MICHAEL
Both of your parents and Mrs. Evans all met here today.

LIZ
All of them? Together?

MICHAEL
Yeah.

LIZ
Why?

MICHAEL
I don't know but they were talking about knowing what goes on in your lives and reading your diaries.

LIZ
No! My mom would never do that.

MICHAEL
I know what I heard. The important thing is to make sure they can't get to them.
(to Liz)
Where are you keeping yours? It better be somewhere safe.

LIZ
(deadpan)
I don't think even you could find it.

Michael turns his head to hide a tiny smile, then turns back again.

MICHAEL
Good.
(to Maria)
What about you?

MARIA
I have no idea where my diary is; I haven't written in it in ages.

MICHAEL
Well, you better find it before your mother does.

MARIA
Chill out, Michael. There's nothing in it that you have anything to worry about. The only thing my mom would discover is how I felt about Doug Sohn.
(beat)
On second thought, maybe I should make sure it's safely hidden.

MICHAEL
Doug who? Who is this Doug person?

MARIA
(surprised)
Do I detect a note of jealousy?

MICHAEL
(lying)
No. I'm just curious. He obviously doesn't go to West Roswell, or I'd know him.

MARIA
(sarcastic)
Right, because you go to school so often, you know everyone there.

She waits a beat, while she enjoys the discomfort he's having at dealing with his new-found jealousy.

MARIA (cont'd)
Relax, Michael, I met Doug in middle school--8th grade. He goes to Goddard now.

Michael still seems tense.

MARIA (cont'd)
I haven't seen him since.

Michael visibly relaxes, then walks over to the table to begin preparing his burger--opening the buns, adding lettuce, tomato, pickles, Tobasco sauce, etc.

LIZ
We have a little bit of news too.

MICHAEL
What?

LIZ
Alex and Isabel saw Larry interviewing people across from the park today.

Michael stops preparing his burger and looks up.

MICHAEL
What? About Hubble?

LIZ
We don't know. They only talked to one person that Larry interviewed and the questions he asked him were pretty generic--about life in Roswell. He told him he was doing a story on living in Roswell. It could be harmless. He could have moved on to other things.

MICHAEL
Do you really believe that?

LIZ
I want to. But we're gonna quiz Jen tomorrow during the breakfast shift, just to be sure.

Michael goes to the grill with his prepared buns, takes the patties off and places them on the bun, double decker style.

LIZ (cont'd)
So how's your first day going?

Michael is about to take a bite of his burger when he hears the front door open. He looks through the pass-through window as a noisy crowd of customers enters the Crashdown. He puts down the burger.

MICHAEL
(sarcastically)
What can I say--it's my dream job.

Liz turns to see the crowd fill several booths.

LIZ
(to Maria)
We better hurry up and get changed.

Liz heads for her locker in the back room.

MARIA
Yeah, I'll be right there.
(to Michael)
Did my mother seem upset? Do you think it's safe for me to go home tonight?

MICHAEL
(nonplused)
How should I know?

MARIA
(exasperated)
You were here! You were obviously eavesdropping!

MICHAEL
(defensively)
Well, if I didn't then we wouldn't have know about the diaries--

MARIA
(interrupting, frustrated)
I'm not accusing you ... I just ...
(sigh)
Did you overhear her say anything about us?

MICHAEL
Oh.
(beat)
I didn't hear everything that was said ... I was sort of trying to stay out of her line of sight.

MARIA
Why?

Michael gives her a "you've got to be kidding" look.

MARIA (cont'd)
Oh, right.
(beat)
But could you tell what kind of mood she was in?

MICHAEL
I don't really know your mother, so I don't know her moods.
(thinks for a beat)
I can tell you she didn't seem as mad as when she found me in your bed that time.

MARIA
(defeated)
I guess that's better than nothing.

Maria heads for her locker.

Cut to:

  42 INT. DE LUCA KITCHEN - NIGHT

Maria is sitting at the kitchen table; Amy is pacing back and forth in the kitchen. She is obviously agitated, but trying to speak calmly.

AMY
Do you have any idea how embarrassing it was for me to learn from someone, other than my daughter, that the boy that my daughter is dating has his own apartment, with NO supervision? Did you not think that this was news; that I wouldn't be interested in what my daughter's boyfriend was doing with his life?

MARIA
(sheepishly)
Um ... sorry ... I guess it just ... slipped my mind?

AMY
Maria, why didn't you tell me? When did we reach the point where you no longer feel you can be candid with me?

MARIA
(she's pained that she hurt her mother, but unrepentant about her actions)
I'm sorry. It's just that, I was afraid you would overreact, like you did when you found Michael sleeping in my bed.
(slowly, and looking down, because it's painful for her to even think the following)
And ...I was afraid you ... I was afraid you would tell me ... I couldn't see him anymore.

Maria looks back up, with tears in her eyes.

AMY
I wouldn't exactly say I "overreacted" in that situation.

MARIA
But you assumed the worst, and nothing happened. Just like nothing is happening now, but I know you think there is.

AMY
I have every right to assume that something is happening. First you keep the fact that Michael has his own place--and that you are seeing him there--from me; then I get up this morning to find you already gone and your bed made. When I call Michael's, he tells me you're in the shower, and you tell me you're not dressed yet! What am I supposed to think?
(beat)
Tell me the truth. Did you spend the night? Are you two sleeping together?

MARIA
NO! Of course not.

Amy releases a breath she didn't even realize she was holding.

MARIA (cont'd)
(rushing)
I needed to go to the rock quarry to get some specimens for our science project. I had to go before school this morning because we needed them this afternoon, which meant I had to get up at the crack of dawn. I didn't want to go alone, so I convinced Michael to go with me, and I didn't want to take a shower until I finished, so I just did it at Michael's. His apartment is closer to school, so it saved time. It was all totally innocent--nothing happened!
(beat)
I'm not going to do anything I'm not ready for. Why don't you trust me to make the right decisions?

AMY
I do trust you. I just feel that you are putting yourself into a situation where you may lose control and act out of instinct rather than logic. The sensible thing to do would be to avoid situations where your basic instincts will be making your decisions for you. Can I trust you to do the sensible thing?

MARIA
I thought I was.

AMY
No, the sensible thing would be to NOT see each other at his apartment.

MARIA
Mom! I told you nothing's happening.

AMY
And we're going to keep it that way, Maria.

MARIA
Where else are we gonna go?

AMY
You can come here.

MARIA
Here? Oh right, we're gonna feel real comfortable ma--kissing on the couch, with you in the next room.

AMY
That's the whole point. That way it won't go beyond "kissing".

MARIA
(hopeful)
So ... I can still see him?

AMY
Yes.

Maria's eyes light up with pleasure and she gives Amy a big smile.

AMY (cont'd)
You're just not going to see him at his apartment.

The light in Maria's eyes dims slightly and her smile turns to a pout.

(pause)

AMY (cont'd)
I want you to invite Michael over for dinner tomorrow.

Maria's eyes widen and her mouth drops open.

MARIA
Michael? Here? For dinner? I don't think that's such a good idea.

AMY
I think it's a very good idea. I think it's high time I got to know Michael better, and that he gets to know me better. I think he needs to know how I expect him to behave around you.

Maria rolls her eyes.

MARIA
(under her breath)
Oh God, Michael is gonna hate this!

Cut to:

  43 INT. ROSWELL SHERIFF'S DEPT - SAME

Sheriff Valenti is walking past the file room. The door is closed but Valenti notices a stream of light coming out from underneath, and pauses. He looks at his watch with a puzzled expression on his face, as if wondering why someone would be in there at this hour. He opens the door.

Cut to:

  44 INT. ROSWELL SHERIFF'S DEPT FILE ROOM - CONTINUOUS

The new deputy is looking through a file while standing by an open file drawer. He is slightly startled when the door opens suddenly. He looks up and smiles when he sees Valenti standing in the doorway.

NEW DEPUTY
Evening, Sheriff.

The deputy casually closes the file he was perusing and places it back in the middle of the file drawer.

VALENTI
You're working late.

NEW DEPUTY
Just trying to catch up on old cases. You never know when a clue from an old case can help you with a new one.

VALENTI
I'm impressed with your dedication ...
(beat, then with a mixture of curiosity and suspicion)
but I didn't realize you were working on a case right now.

NEW DEPUTY
I'm not. I'm just preparing for the future.

VALENTI
(raising an eyebrow)
Now I'm really impressed. That's a lot of information to remember, for a future case.

NEW DEPUTY
Not for me. I have a photographic memory.

The deputy notices the time on the clock on the wall--9:30--and closes the drawer he was looking through.

NEW DEPUTY (cont'd)
Guess that's enough for today. Goodnight, Sheriff.

He heads for the exit, passing Valenti as he leaves.

VALENTI
Goodnight.

Valenti watches him for a beat, until he is sure he is gone, then steps into the file room. He heads for the file cabinets and opens the drawer the deputy was looking in. He flips through the files in the middle of the drawer, trying to determine which one the deputy was perusing. There is a file folder sticking up slightly as if it was hastily replaced. Valenti puts his hand on the folder to look at the label, which reads "Frazier Woods Sighting". He seems puzzled, but relieved that this is the folder the deputy was reading. He's about to close the drawer when he notices what else is in the cabinet--a few files further is a file marked "Hubble, Everett". Valenti puts his hand on the file. A look of concern crosses his face. He pauses, then pulls the file out of the drawer, closes the drawer, and exits the file room with the Hubble file tucked under his arm. Kyle almost runs into him in the hallway. Valenti holds the file protectively.

VALENTI
Kyle! What are you doing here?

KYLE
(hesitantly)
I ... there's ... There's something I need to talk to you about.

VALENTI
I was just about to leave for home. It wasn't something that could wait till I got there?

KYLE
No ... I think it's better if I talk to you about it here.

VALENTI
(concerned)
OK. Let's go back to my office.

The camera follows Valenti and Kyle as they walk back and into his office, then close the door. The camera zooms in on the closed door.

To be continued ...

END OF ACT IV


Roll Credits

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