ROSWELL
WHAT MIGHT HAVE BEEN


"The Witness"
(Episode #119)


Story By
Joan Pickering and Erica Cavin
Written By
Joan Pickering
with
Erica Cavin
and contributions by
TeeJay



Beta Tester Draft   07/29/02
Final Draft   08/26/02
Posted   08/28/02



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VOICEOVER
Previously on Roswell: What Might Have Been ...

  1 EXT. ROSWELL CIVIC PARK - DAY

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.

  2 EXT. WEST ROSWELL HIGH SCHOOL QUAD - DAY

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.

  3 INT. WEST ROSWELL HIGH SCHOOL LAB ROOM - DAY

MAX
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.

  4 INT. MICHAEL'S APARTMENT - MORNING

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

MARIA
Hello?

AMY (VO)
Maria! Kitchen! NOW!

MARIA
(shocked)
Mom!?

  5 INT. DE LUCA KITCHEN - NIGHT

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!

  6 INT. CRASHDOWN KITCHEN - DAY

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.

  7 INT. CRASHDOWN - KITCHEN - DAY

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.

  8 INT. ROSWELL SHERIFF'S DEPT - NIGHT

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.


  ROSWELL: WHAT MIGHT HAVE BEEN - "The Witness" - TEASER - 08/28/02

TEASER


  1 INT. LIZ PARKER'S BEDROOM - NIGHT

Liz is dressed in her night attire, sitting on her bed, leaning against the pillows propped against the headboard. She is writing in her journal.

LIZ (VO)
Wednesday, March 1st. Yesterday I was pouring my heart and soul into this journal about my separation from Max, but was able to work out a solution and end on a note of hope. Now, just one day later, I'm wondering if I should be writing in this journal at all. If maybe I should hide it some place far away from any connection to me, or worse, destroy it.

Cut to:

  2 INT. EVANS HALLWAY - SAME

Max is pacing nervously in front of a closed door.

LIZ (VO) (cont'd)
I'm not sure I'm strong enough to give up my refuge, my source to express my innermost feelings and work out my biggest problems, but I also can't put Max, Michael and Isabel at risk.

Cut to:

  3 LIZ PARKERíS BEDROOM - CONTINUOUS

LIZ (VO) (cont'd)
There's a part of me that refuses to believe that my parents would invade my privacy so intrusively by reading my journal. If they do, they are not the people I've always thought they were. Is Michael just being paranoid? Did he just misinterpret what he heard? Am I at fault? Did my recent behavior push them to this limit? Can trust really be that fragile? I hate all these secrets so much that there's another part of me that wants them to read my journal, so I won't have to keep deceiving them, but I can't let that part of me make this decision.

Liz stops writing and looks out her window, up at the stars.

LIZ
(sighing)
Oh, Max ...

Cut to:

  4 INT. EVANS HALLWAY - SAME

Max is still pacing.

LIZ (VO)
How I wish Max's arms were around me, comforting me, right now. I can think more clearly when I'm calm, and I could make a more rational decision. If only his wish could come true and we could find a way to be together. I really need him right now.

Max stops pacing and approaches the closed door. He's about to knock, hesitates, then turns away.

Cut to:

  5 LIZ PARKERíS BEDROOM - CONTINUOUS

Liz closes her journal and gets off her bed to place the journal in its hiding place behind the loose brick in her bedroom wall. Returning to her bed, she crawls under the blankets. She reaches out to a picture of Max on her night stand, adjusting the frame so that Max's face will be the first thing she'll see when she wakes in the morning. Her fingers linger on his picture as a sad smile crosses her face. She then turns off the lamp and closes her eyes.

Cut to:

  6 INT. ISABEL EVANS'S BEDROOM - CONTINUOUS

Isabel is lying on her bed. She has the school newspaper picture of Kyle in front of her.

ISABEL
(to herself)
OK, Valenti, let's give you another chance to surprise me.

Isabel puts her finger on the picture and closes her eyes. We don't see what he's dreaming because she breaks from it immediately.

ISABEL
(irritated)
Baseball again!?

Isabel pushes the school newspaper aside and reaches for a fashion magazine at the end of her bed. As she is flipping through it there is a knock on her door.

ISABEL
Come in.

Max enters. It's obvious from the look on his face that he has something on his mind.

ISABEL (cont'd)
What's up?

MAX
Um ... I was just wondering something.

ISABEL
Wondering what?

MAX
Do you know if you can take someone with you on a dreamwalk?

The camera holds on Isabel's astonished look.


END OF TEASER


  ROSWELL: WHAT MIGHT HAVE BEEN - "The Witness" - ACT I - 08/28/02

ACT I


  7 INT. ISABEL EVANS'S BEDROOM - CONTINUOUS

Isabel is recovering from her astonishment.

ISABEL
I have no idea. I've never tried it before.
(beat)
You've got it bad, don't you?

MAX
What do you mean?

ISABEL
You're always warning me not to dreamwalk Liz, so I'm a little surprised that you would want to.

MAX
Who said it was ...

He stops at Isabel's "give it a rest" look.

ISABEL
You must really miss her if you're willing to do this.

MAX
(looks down, slightly embarrassed)
I do ... I realize it's an invasion of privacy, but it's been so hard ... on both of us. I just thought it would be the next best thing if I ... we ... could hold dream versions of each other.
(looks back at Isabel)
Can I do that? Can I interact with the dream version of Liz?

ISABEL
Yeah, you can hold her.
(teasing)
I'm not sure about anything more physical, though. I've never tried, say ... kissing someone in their dreams. But that doesn't mean you can't.

Max seems uncomfortable.

ISABEL (cont'd)
(noticing his discomfort)
What?

MAX
Um ... You won't be um ... you know ...

ISABEL
Watching? No, don't worry, I won't watch.

Max visibly relaxes.

ISABEL (cont'd)
But you have to tell me if it works. If you can ... do more than hold the dream version of Liz.
(at Max's hesitation)
Without going into detail.

MAX
(nods)
OK, it's a deal.

ISABEL
When did you want to try it?

MAX
(looking at her hopefully)
Now? It's 11:30; she's probably sleeping by now.

ISABEL
I suppose this is as good a time as any.

Isabel sits up and moves to the edge of her bed.

MAX
What do I have to do?

ISABEL
First I need a picture of Liz.

He pulls his wallet out of his pants pocket and removes Liz's picture. He sits beside her on the bed as he hands the picture to her.

ISABEL (cont'd)
Now, take my hand.

She extends her hand and he takes it; she keeps her other hand on the picture.

ISABEL (cont'd)
OK, you need to clear your mind of everything but Liz.
(giving him a wry smile)
Do you think you can handle that?

MAX
(returning her smile)
I think I can manage.

They both concentrate on Liz.

Cut to Liz's dream:

  8 INT. HALLWAY - TIME OF DAY INDETERMINATE

Liz is walking down a corridor with an endless amount of doors. Doors which, when she opens them, lead to empty rooms with another door, which lead to another corridor with endless amounts of doors. The corridors have a kind of double reflection (mirror on mirror effect) which gives the impression of infinity. Liz keeps opening doors, looking for something, or someone, becoming more frantic by the minute. Then she calls out.

LIZ
(beseechingly)
Max! Max! Where are you? I need you! Please, Max, tell me where you are!

Max and Isabel enter her dream. They do not see her, but can hear her calling for him. He runs toward the sound of her voice and calls out; Isabel stays behind.

MAX
Liz! Liz!

Cut to Liz. Hearing him, she runs toward his voice. She opens the next door and he is on the other side. Liz runs into his arms, resting her head on his shoulder.

MAX
It's OK. I'm here. I'm here.

LIZ
I knew you would come.

She lifts her head from his shoulder and looks into his eyes.

LIZ (cont'd)
I can always count on you.

He breaks their embrace to cup her face with his hands.

MAX
Yes, you can. You can always count on me. I will always be here for you. I will always come for you. Nothing can keep us apart.

They kiss. A deep, passionate, loving, kiss. The corridors and doors disappear; Max and Liz are standing in a field of flowers. A few butterflies in the air land on them but they are oblivious--lost in their kiss. Isabel is caught unawares, and sees them in their loving embrace. She turns around to give them privacy.

ISABEL
(to herself)
Guess I don't have to ask if kissing is possible.

She sits on the grass.

ISABEL
(to herself)
Might as well get comfortable; we're obviously gonna be here awhile.

Max and Liz continue to kiss in the background.

Cut to:

  9 EXT. WEST ROSWELL HIGH SCHOOL BALL PARK - MORNING

There are a few students out on the baseball field, practicing. Kyle is at the fence, talking to Larry. The sheriff's cruiser is in the parking lot. Valenti watches Larry and Kyle for a moment, frowning, then gets out of the cruiser and approaches them in an authoritative manner.

VALENTI
Trilling! What brings you here?

Larry turns quickly at the sound of his name. He is slightly flustered when he realizes it was the sheriff who called him.

LARRY
Research. I'm doing research on life in Roswell for a book. I think I mentioned that to you earlier.

VALENTI
So you did. You also mentioned the shootings at the Crashdown and at Pepper's Café. Are you still doing "research" on those?

LARRY
(nervous)
No, you convinced me there is nothing there to investigate.
(to Kyle)
I'll let you get back to practice; thanks for taking a moment to answer my questions.

Larry leaves. Valenti watches him go, then turns to Kyle.

VALENTI
What questions were you answering?

KYLE
Nothing important.
(suspicious)
What brings you out here?

VALENTI
I came to see you practice. Did I need to clear that with you first?

KYLE
No, it's just you've never come before.

VALENTI
Well, I'm gonna try to come more often.

Kyle isn't sure whether to believe his dad or not, but smiles, pleased that he is there, whatever the reason.

Cut to:

  10 INT. CRASHDOWN CAFÉ - BACK ROOM - SAME

Maria is at her locker when Liz comes downstairs.

LIZ
Maria! I have got to tell you!

MARIA
What? What?

LIZ
(her eyes wide with excitement)
I had the most amazing dream last night!

MARIA
Oooh. Do tell all!

LIZ
I was in a panic. I kept looking for Max, but couldn't find him. I started calling out to him and suddenly he was there, holding me in his arms, telling me everything was going to be all right.

MARIA
(sighs)
How romantic!

LIZ
That's not the best part.

MARIA
(excited)
There's more?

LIZ
(nods)
Uh huh. At first it was like most dreams--kind of confusing and sort of distant-like--but then it became very real. I could really feel his arms around me and taste his kisses. Maria, I think he was really there.

MARIA
You mean ...?

Liz nods.

MARIA (cont'd)
You think he dreamwalked you?

LIZ
Yes. He told me yesterday that he wished he could find a way for us to be together without breaking our promises to our parents; I think he found a way.

MARIA
How do you feel about that? I mean, you get upset when your parents go into your room without knocking, and yet Max can just go into your dreams ...? What if he accidentally saw something you didn't want him to see?

LIZ
(smiling wistfully)
Knowing Max, he'd turn it into something positive.

Liz flashes to what Max said to her after witnessing her fantasy about him (Sexual Healing) "I didn't just see what you saw. I felt...what you felt...when you saw me. And I never thought anyone could really...ever feel that way about me."

LIZ (cont'd)
(resolutely)
But, you're right, he should have asked me first instead of just surprising me.
(hesitantly)
Then again, sometimes surprises can be wonderful ... like last night was.

MARIA
So, do you want him to do it again?

LIZ
(smiles)
Definitely! I'll just ask him to knock next time.

They both start giggling as they enter the main room.

Cut to:

  11 INT. CRASHDOWN CAFÉ - DINING AREA- CONTINUOUS

Jen is there, cleaning the tables. Maria starts helping and Liz goes behind the counter to start filling sugars.

MARIA
(pleasantly)
Morning, Jen.

JEN
Morning.

LIZ
(trying to sound casual)
So, Jen, how's Larry's story going? Will we be reading it in the papers soon?

Jen tenses a little, then takes a beat and answers.

JEN
I'm afraid not. He's had ... creative differences with the reporter he was working with, so he's shelved that project.

MARIA
Really? Because I thought I saw him interviewing people yesterday. Did he just change his mind today?

JEN
Um ... no, that's a new project. He's decided to write a book about life in Roswell.

LIZ
That sounds ambitious.

JEN
Yes, it is. It should keep him busy for quite a while. So I'm afraid you're going to have to wait a bit to read it.

LIZ
That's OK. I'm sure it will be worth the wait.

Liz and Maria exchange surreptitious looks.

Cut to:

  12 EXT. DOWNTOWN ROSWELL - 10 MINUTES LATER

Larry is conducting his interviews with his tape recorder. He is shaking hands with a guy, late twenties/early thirties, dressed in casual clothes.

TY
Pleased to meet you. My name is Ty ... Ty Appleton.

LARRY
How long have you lived in Roswell, Ty.

TY
I don't actually live in Roswell; I live in Bitter Lake.

Larry's eyes widen at the mention of Bitter Lake.

LARRY
Close enough.
(beat)
By any chance, did you attend the last UFO Convention?

TY
Yeah, I attend every year--they are very informational.

LARRY
Did you notice Everett Hubble? Do you know who he is?

TY
Everyone who follows UFO phenomena knows of him. I never got to meet him ... but I came close!

LARRY
How so?

TY
I was leaving the Convention, heading home, when this kid comes rushing out and asks me if I can give him a lift.

LARRY
(interrupting)
Kid? What kid?

TY
Local kid. I'm sure you've seen him around; he's hard to miss. Spiky hair; I think his name is Michael.
(beat, musing)
I always felt sorry for that kid; his foster father drinks like a fish.

LARRY
(very interested)
So, go on. Did you give him a ride?

TY
Well, I ask him "Where to?" and he looks out on the road, like he's trying to make up his mind, and then points east, which is the way I was headed, so I agree to take him as far as I'm going. My turn off comes up, so I drop the kid off.

LARRY
What does that have to do with Hubble?

TY
I'm getting to that part. I read in the papers a few days later that Hubble had a shoot-out at Pepper's Café with the sheriff, right around the same time that I dropped that kid off--a quarter mile before Pepper's Café. Man, if I had just kept going straight, instead of turning off ... I always miss all the action!

LARRY
Not this time, buddy. Not this time.

Cut to:

  13 EXT. ALIEN ESSENCE - LATER

Jim is standing outside of Amy's shop, trying to work up the courage to go in. A customer comes out and stares at him, expecting him to take the door. Jim does; Amy sees him from inside, which forces him to go inside.

Cut to:

  14 INT. ALIEN ESSENCE - CONTINUOUS

Amy is behind the counter. She smiles broadly as Jim approaches.

AMY
Jim! How nice to see you.

VALENTI
(smiling)
Thanks, Amy. It's nice to see you too.

AMY
(slightly flustered)
What brings you here?
(beat)
I don't think you have ever been here before, have you?

VALENTI
Just once, back in December. I came looking for you, but you weren't here and I found you at the Crashdown.

AMY
(smiling at the memory)
Oh, yeah, I remember.

He looks around. The shop has an interesting mixture of items associated with new age mysticism--herbs, spices, incense, crystals, etc--and "other worldly" items such as alien keychains and alien blow-up dolls, but arranged in such a way that they go well together. His eyes travel up to the ceiling, where he sees a model spaceship against a crystal-star sky.

VALENTI (cont'd)
(looking at the ceiling)
It certainly is ... eclectic.
(smiles as he looks back at Amy)
It fits you.
(sniffs the air)
It's also very ... aromatic.

AMY
Are you into aromatherapy? Because if you are, you've come to the right place.

VALENTI
(smiling)
I think it's more the aromatherapist that I'm into ...

Amy rewards him with one of her throaty laughs, causing Jim to smile and lean in on the counter.

VALENTI (cont'd)
... and I agree ... this is the right place.

AMY
(her nervousness returning)
Yeah, well, that's very flattering, it really is, but unfortunately it's not the right time. I thought I made it clear to you that I needed to focus on Maria right now ... without distractions.

VALENTI
(straightening up)
Yes, you did make that clear, and I've been thinking a lot about what you said. It made me realize how little I see of Kyle ...
(bemused)
How I have very little idea of who he is anymore, what he wants out of life. Between his schedule and mine being so tight, we never get to just sit and talk anymore.

AMY
Oh ... trust me ... I understand about tight schedules. Just yesterday, I found something out about Maria that upset me, and I wanted to read her the riot act.
(beat)
Her schedule was so full, I had to make an appointment!

Valenti suppresses a laugh.

AMY (cont'd)
It's not funny!

VALENTI
Well ...

AMY
(smiling)
All right, it is a little funny; but it wasn't at the time.

VALENTI
I know. But you're right, we do have to make appointments if we want to spend time with our kids. Kyle is on the go so much, I feel I would need to make an appointment just to have dinner together. That's what got me thinking about what you said about wanting to spend time with Maria. I'm guessing you have the same problem with Maria.

AMY
True.

VALENTI
So I came up with a plan that would help both of us. I figured if we had company coming, or were invited to dinner together, that would be like having an appointment, and we would be more likely to keep it. Then we could actually sit down and talk.

AMY
How do Maria and I figure in?

VALENTI
You would be the company. We can spend dinner getting to know our kids again. If it works well the first time, we could plan on doing it on a regular basis.

Amy nods, which encourages Valenti to continue.

VALENTI (cont'd)
And after dinner, when the kids go off to study, or out with their friends, we can get to know each other better. What do you think?

AMY
(smiling)
I think it has lots of potential. Let me give it some thought and I'll get back to you. OK?

VALENTI
(smiling)
OK.

Cut to commercial.

END OF ACT I


  ROSWELL: WHAT MIGHT HAVE BEEN - "The Witness" - ACT II - 08/28/02

ACT II


  15 EXT. WEST ROSWELL HIGH SCHOOL QUAD - NOON

Isabel is sitting alone at a table eating lunch. Michael comes by and sits with her. Kyle, sitting down at a nearby table, notices and watches them.

MICHAEL
Hey.

ISABEL
Hi. What's up?

MICHAEL
What makes you think something's up? Can't I just sit and say hey?

ISABEL
The look on your face tells me you have something on your mind. You might as well spit it out; you know I'm gonna get it out of you eventually.

MICHAEL
It's about the dance ...

There is a long pause while he gets up the courage to tell her, leading her to the wrong conclusion.

ISABEL
(shocked)
You're not asking me to the dance are you?

MICHAEL
No! Of course not!

ISABEL
Then just tell me already. What about the dance?

MICHAEL
I know Maria wants me to ask her, but I don't know how to dance.
(beat)
Would you be willing to teach me?

ISABEL
(thinks for a moment, then smiles)
I'd love to help you out.
(beat, innocently)
I don't suppose you could help me out?

MICHAEL
(under his breath)
Here it comes.

ISABEL (cont'd)
It's just that I promised the Petersons I'd baby-sit.
(ignoring Michael's panic-stricken look)
I wouldn't ask, but it's just that there's a Nelly Furtado concert coming up, that I want to go to with my friends, and it's the same night. I'd be ever so grateful if you could help me out.

MICHAEL
(desperate to get out of it)
The Petersons aren't gonna let just anyone baby-sit.

ISABEL
They trust me. If I recommend you, they'll let you sit with Lisa and Joey.

MICHAEL
(guarded)
What do I have to do?

ISABEL
Oh, it's a breeze! They're usually in bed when I get there. So you don't have to do anything but sit and watch TV and make sure nothing bad happens to the kids while they're sleeping. Even you could handle that!

MICHAEL
And if they're not in bed when I get there?

ISABEL
They're angels. You won't have any trouble with them. You just put them to bed and they'll go right to sleep. So, is it a deal?

MICHAEL
(defeated)
OK, it's a deal.

Maria comes up behind Michael and plants a kiss on his cheek. He's nonplused, thinking she would be mad at him, but glad to see that she's not.

MARIA
How's it going?

MICHAEL
Better than I thought.

MARIA
Good, then this will be a good time to tell you.

MICHAEL
(suspicious)
Tell me what?

MARIA
My mom wants you to come to dinner tonight.

MICHAEL
Thanks, but no thanks.

MARIA
It's not going to be that bad, Michael.

MICHAEL
That's what you said the last time, about the dinner with Larry and Jen. Besides, I know why your mom wants me there.

MARIA
It's not an ambush. She does want to talk to you about you having your own apartment and how that effects us, but it's not the end of the world. She says we can still see one another, just not there. She wants to make sure you understand how she feels and she wants to get to know you better.

Michael doesn't look convinced.

MARIA (cont'd)
Michael, if you don't come, she may decide we can't see each other.

MICHAEL
So. Do we really need her permission?

MARIA
Yes ... unless I become emancipated and move in with you!

MICHAEL
(shifts uncomfortably, then grudgingly)
Fine! I'll come.

Liz joins them and notices Michael's perturbed look.

LIZ
How's it going, Michael?

MICHAEL
Not as good as I thought.

LIZ
Oh, sorry to hear that.

Max approaches the table. He looks at Liz expectantly. She smiles at him, then winks. He smiles broadly. She decides to throw something away, as an excuse to brush by him on the way to the trash can. She leans in and whispers to him as she goes by.

LIZ
See you in my dreams.

Max's smile broadens even more.

LIZ (cont'd)
But you'll knock next time, right?

Contrite, Max starts to apologize but Liz forestalls him by mouthing "I know," and smiling. They move on to separate tables that are still close enough to be able to share longing looks.

MARIA
(to Michael)
Come on, sunshine, let's go discuss tonight's dinner.

Michael glares, but leaves with her. Kyle reacts when he sees everyone leaving Isabel. He's about to head over when he sees Alex approach, so he remains seated. Alex sits with Isabel.

ALEX
I picked up the tickets for tonight.

ISABEL
(somewhat haughtily)
Without checking to see what I wanted to see? What did you pick?

ALEX
(with a mischievous smile)
"Scream 3".

ISABEL
(aghast)
You didn't!

ALEX
(laughing)
You're right, I didn't.

He pulls the tickets out of his pocket and holds them up.

ALEX (cont'd)
"American Beauty".

ISABEL
(squeals with delight)
Oooh! How did you know I wanted to see that!

ALEX
(smiling)
I have my sources.

ISABEL
(curious)
Wait, this is an R rated movie. How did you get tickets?

ALEX
(proud of his ingenuity)
I just went when Mr. Tyler was working the booth. He never checks for ID.

ISABEL
(impressed)
Clever. You thought of everything, Alex!

Alex beams at her praise. Kyle frowns, stands, and walks away.

Cut to:

  16 INT. SCOTTY'S BAR & GRILL - SAME

Larry is sitting at a bar where the local cops hang out, finishing his lunch. In the background there are several booths and tables occupied by law enforcement officers. Picking up his beer, Larry swivels around on his bar stool, surveying the crowd and trying to pick up on some of the conversations around him, but the din from the jukebox and multiple conversations makes eavesdropping difficult. Larry turns back to his fries. The song on the jukebox ends and before the next one begins, there's a lull in which a conversation from the booth directly behind him between two deputies--Deputy Blackwood and the new deputy on the force--can be heard. Larry perks up and listens in.

NEW DEPUTY
He just seems a little out there.
(beat)
I heard he actually had a task force out in Frazier Woods, investigating a sighting like it was for real!
(chuckles)
Must've of been embarrassing when he had to admit it was nothing but dry lightning.

OWEN
He takes all citizen complaints and reports seriously. The full investigation helped to calm down the citizens who believed it was real.

NEW DEPUTY
(looks at Owen thoughtfully)
How long have you been working with Valenti? What do you think of him?

OWEN
I've been with Valenti for many years and I have a great deal of respect for him.

NEW DEPUTY
Don't you think his methods are somewhat ... unconventional?

OWEN
(losing his patience but keeping it under control)
He has his own way of doing things but he gets the job done, and done well, without stepping outside the boundaries of the law.

NEW DEPUTY
I've always been a strictly by the book kind of guy.

OWEN
You'll adjust. You've only been at the department a week.
(out of patience)
Look, I have some errands to run before my lunch break is over, so I'll catch up with you back at the station.

Deputy Blackwood leaves. Larry waits a moment, finishing his burger and fries. Then he picks up his beer and wanders over to the new deputy.

LARRY
You're new in town, aren't you?

NEW DEPUTY
Yes, but how did you know? Do you work with the Sheriff's Department?

LARRY
No, I'm just very aware.
(takes a beat, then candidly)
Besides, I overheard you and Deputy Blackwood talking. I too have noticed Sheriff Valenti's "unconventional" methods, and I'd like to share information, if you're interested.

Larry puts out his hand.

LARRY (cont'd)
My name is Larry Trilling.

The deputy shakes his hand.

NEW DEPUTY
Pleased to meet you. My name is Green--Deputy Ethan Green--and yes, I am interested.

Cut to:

  17 INT. UFO CENTER MUSEUM EXHIBIT ROOM - DAY

Larry and Milton are discussing the exhibit they are arranging. Max arrives. During the following exchange, Max and Larry stare at each other distrustingly.

MILTON
Ah, Evans! Just in time. I need you to help Trilling with the Foo Fighter exhibit.

MAX
The Foo Fighter exhibit? What does a rock band have to do with UFOs?

MILTON
(shakes his head)
Evans, Evans, you have so much to learn.
(beat)
But Trilling and I will be happy to teach you.
(to Larry)
Won't we?

LARRY
(gives Max a fake smile)
Absolutely!

MILTON
(to Max)
You be sure to pay attention to Trilling; you can learn a lot from him.

MAX
(sarcastically)
I'm sure I can.

LARRY
And vice versa.

MILTON
(to Larry)
You think Evans has a lot to teach you?

LARRY
Yes, I do.

MILTON
OK, well I'll leave you two to teach each other, while I get some more supplies for the exhibit.

Milton leaves. With just Larry and Max in the room, the tension is thick enough to cut with a knife.

MAX
So, what do I have to learn about the Foo Fighters and UFOs?

Larry unfurls a poster showing an old fighter plane being chased by what look like balls of orange and green fire.

LARRY
These glowing balls supposedly followed ships and planes during World War II, and moved extremely fast, like fighter planes. At the time, there was a cartoon character - Smokey Stover - who had a catchphrase: Where there's foo, there's fire, so the sailors and pilots called them Foo Fighters. The rock band took their name from these.

MAX
Ah, I see.
(grudgingly)
Thanks.

Larry hands him a tape dispenser.

LARRY
Here, help me hang this.

They reluctantly work together to put up the exhibit. Neither trusts the other; neither will turn their back on the other, making working together somewhat awkward. In the background we see Ty Appleton enter the exhibit room and surreptitiously signal to Larry to join him.

LARRY
A visitor. I better go help him.

Larry leaves Max and goes up to Ty, out of earshot from Max. Larry's body language seems tense. Max is observing them; a look of consternation crosses his face when Ty abruptly leaves. Larry returns to Max to help with the exhibit.

MAX
(suspicious)
That was a short visit.

LARRY
He just needed some information on a book he's writing on the crash.

MAX
(skeptical)
Right.

Cut to:

  18 INT. MICHAEL'S APARTMENT - NIGHT

Michael is watching TV when there is a knock on his door. He opens it and finds Max on the other side. Max's expression shows that he's not in the best mood.

MICHAEL
Hey. What's up?

MAX
I'm not sure. I hope nothing.

Max steps in, Michael closes the door and they move towards the couch.

MICHAEL
What is it now?

Michael sits on the couch and Max follows suit.

MAX
Larry. Who else.

MICHAEL
(concerned)
What happened? What did he do?

MAX
Remember how you told me that Ty Appleton gave you a lift close to Pepper's Cafe, the night Hubble tried to ... kill me?

MICHAEL
(with trepidation)
Yeah ...

MAX
Ty came into the UFO Center today, and was talking to Larry.

MICHAEL
No way! How did he find out!?

MAX
Relax, Michael. Larry may not know anything. Ty comes in all the time; he has a season pass. It may just be a coincidence.

MICHAEL
(skeptical)
You wouldn't be breaking your grounding rules by coming here if you thought it was nothing.

MAX
I might just be using it as an excuse. Maybe I just needed to vent. It's not easy working next to someone all day, who you know is out to get you.

MICHAEL
(sympathetically)
Yeah, I'll bet.

MAX
He's just so ... smug ... and smarmy.

MICHAEL
(joking)
Would you like me to take care of him for you?

Max laughs.

MICHAEL (cont'd)
(still joking)
No, seriously, just say the word and poof he's gone.

MAX
(teasing)
And just how do you plan on doing that? Do you have some new, magical power I don't know about?

MICHAEL
(turning serious)
Magical? No. New ...? Maybe.

MAX
(curious and slightly concerned)
Are you serious? Have you been holding out on me?

MICHAEL
No, I'm not holding out on you, it's just ... I think I've discovered a new ... ability.
(beat)
Actually, I'm not sure it's new ... maybe different is a better description.

MAX
Different than what?

MICHAEL
I think it's a form of telekinesis ... you know, like when I moved Hank's gun with my mind and you did the same with Hubble's gun.

Max nods.

MICHAEL (cont'd)
Only this was more like pushing an object rather than just moving it; it felt as if a burst of energy came out of me. I don't remember feeling that with Hank.
(beat)
Of course I could've imagined it. It's probably the same thing. It's not like I've had a lot of experience with it. I haven't been able to duplicate it, or even come close, since that time with Hank, until yesterday at the Crashdown--

MAX
(interrupting)
You used your powers at the Crashdown! Did anyone see you!?

MICHAEL
(defensively, but not looking Max in the eye)
Not intentionally and, NO, no one saw!

MAX
(feeling he overreacted)
Sorry, go on; what happened?

MICHAEL
A box of baking soda was about to fall off the shelf over the grill. I couldn't get to it in time to keep the box from spilling all over the burgers and I just automatically reached out to grab it, like this ...

Michael stands up and demonstrates.

MICHAEL (cont'd)
I never expected it to help ... but it did ... or sort of did; it was like I said, an energy burst, or something, hit it and deflected it.
(pause)
I've been trying to make it happen again, but I haven't succeeded. What about you? Have you tried duplicating what you did with Hubble?

MAX
Yes.

MICHAEL
And?

Max stands up. He looks around and spots a plant on the counter. He raises his arm, concentrates and makes it move a few inches to the left.

MAX
That's about the best I can do, so far.

MICHAEL
(disappointed in himself)
I haven't even been able to do that much, at least not whenever I want to.

MAX
(supportively)
Try again. On the plant.

Michael steps forward and reaches out in the direction of the plant. Nothing happens. Michael looks at Max and shrugs.

MAX (cont'd)
When I do it, I clear my mind of everything else and concentrate on moving the plant. Try it again, but this time, really focus on moving it.

Michael raises his hand, aims it at the plant, and focuses his full attention on it. They both jump when it suddenly explodes. They continue to stare at the broken shards of the pot and uprooted plant for a beat, in awe.

MAX
Whoa!

MICHAEL
Yeah.

They both turn and look at each other, at a loss for words, then turn back to look at the broken shards.

MICHAEL (cont'd)
Man!

A smile of satisfaction plays at his lips.

Cut to commercial.

END OF ACT II


  ROSWELL: WHAT MIGHT HAVE BEEN - "The Witness" - ACT III - 08/28/02

ACT III


  19 INT. CRASHDOWN - 1 HOUR LATER

Alex and Isabel are seated at a booth. They both seem a little uncomfortable. A waitress is taking their order.

WAITRESS
So that's two mini meteor shower sundaes?
(teasing slightly)
Some kids order the super-nova and share.

ALEX
Thanks for the tip. The meteor showers are fine.

The waitress leaves.

ALEX
... and safer.

ISABEL
I'm really sorry Alex. I thought you saw me add the Tabasco to the popcorn.

ALEX
(embarrassed)
I must have been distracted.

ISABEL
It was an engrossing movie.

ALEX
(meeting her eyes)
It wasn't the movie.

Isabel smiles then lowers her eyes.

ALEX (cont'd)
I wanted tonight to be absolutely perfect. Because that's what you deserve. You're so ... so ...

Isabel looks at Alex expectantly.

ALEX
So--

The waitress interrupts by bringing them some water. She puts the glasses down on the table and leaves. Alex's head drops.

ALEX
(staring at the table top)
I wish I had a remote control for real life.

ISABEL
What?

ALEX
(looks up)
So I could fast forward to tomorrow. That's when I'll figure out just the right thing to say.

Isabel laughs.

ISABEL
That happens to me too. But wouldn't pause work as well? Then you could wait until it came to you.

ALEX
(relaxing)
Or rewind. It was there a minute ago.

ISABEL
I'm sure it was. Can we use the remote control to fast forward through boring things?

ALEX
Gym class?

ISABEL
And waiting for tow trucks.

ALEX
Yeah. And rewind and relive the good parts.

They continue their conversation, barely noticing the waitress arriving with their order.

Dissolve to:

  20 EXT. EVANS HOUSE - ONE HOUR LATER

Alex and Isabel walk up to the front door. There's an awkward pause. Alex takes a breath trying to calm his nerves. He doesn't notice that Isabel is doing the same thing. They move toward each other and kiss; their first passionate kiss. They pull back and gaze at each other.

ISABEL
That was very nice.

ALEX
(on cloud 9, almost breathless)
Yes, it was.

(pause)

ISABEL
I really had a good time tonight, Alex. I hate for it to end, but we both have school tomorrow, so ...

ALEX
Really!? You really don't want it to end? That's great! So ...
(beat)
... I'll see you tomorrow then?

ISABEL
(smiling)
Yeah, tomorrow. Goodnight, Alex.

ALEX
Goodnight, Isabel.

Cut to:

  21 INT. ISABEL EVANS'S BEDROOM - MOMENTS LATER

Isabel walks into her room still smiling. As she throws her jacket onto the bed, a ticket stub falls out of the pocket to the floor. Isabel picks it up and holds it for a moment; she can't quite bring herself to just throw it away. She sits down at her desk and writes "First date with Alex" on the stub, then places the ticket stub in a small box in her drawer. Closing the drawer, she notices the school newspaper on her desk, which is still open to Kyle's photo. She picks it up and brings it to her bed. She lies down on her stomach, leaning on her elbows, legs in the air with her ankles crossed.

ISABEL
(to herself)
All right, Valenti, this is your last chance to show me you are more than just a dumb jock.

Isabel puts her finger on the photo, closes her eyes and enters Kyle's dream. He and Paulie are laughing and fake punching each other on the shoulder as they walk down a school corridor. Kyle notices a dance poster and stops, then gives Paulie a soft back hand on the arm.

KYLE
Man, you are not gonna believe who just agreed to go to the dance with me.

PAULIE
Christina Aguilera?

KYLE
Better ... Isabel Evans!

Paulie is suitably impressed and high fives Kyle.

PAULIE
Score!

KYLE
Yeah, this is so righteous! Max Evans is gonna be so pissed off when he finds out.

PAULIE
(concerned)
Kyle, tell me you are not going out with Isabel just to get even with her brother.

KYLE
Of course not; that's just the icing on the cake!

PAULIE
Man, you had me worried there. I mean, Isabel Evans is a prime piece of meat--you wouldn't want that to go to waste.

KYLE
Hey! Don't talk about Isabel like that. She's a lady and deserves your respect.

PAULIE
Whoa! What's got into you? You never minded when I talked about Vicky that way.

KYLE
That was different. Isabel is different. Vicky ... Vicky is hot ...
(shakes his head in wonderment)
... man is she hot! ... but she isn't exactly picky about who she goes out with. As long as you have money to spend on her, she's happy. Isabel doesn't date just anyone. If you get a date with Isabel, you know she thinks you're special.

PAULIE
(joking)
So you must be feeling pretty special.

KYLE
(serious)
Yeah, I do.

Isabel breaks from the dreamwalk, smiling enigmatically.

Cut to:

  22 EXT. BITTER LAKE COUNTY ROAD - SAME

Michael is standing beside a mailbox on the side of the road. The mailbox is labeled "Appleton". Down the driveway is a small cabin, enclosed in darkness.

Cut to:

  23 INT. WEST ROSWELL HIGH SCHOOL HALLWAY - MORNING

Kyle and Tommy are at Kyle's locker, talking.

TOMMY
So how did your dad take it when you told him about flunking chemistry?

KYLE
Just like I thought--he hit the roof. But then Hanson came running in to see what was wrong, which forced my dad to act a little more civilized. By yesterday, he had calmed down enough to talk about it rationally.

TOMMY
So your plan to tell him at work so he wouldn't kill you worked.

KYLE
(smiling smugly)
Like a charm.

Kyle sees Liz and gets an idea. He gives Tommy a soft back hand on the arm, just before taking off.

KYLE
Hey, catcha later, bud.

Kyle rushes to catch up with Liz.

KYLE
Hey, Liz, wait up.

Liz stops, turns and smiles at Kyle's approach.

LIZ
What can I do for you, Kyle?

KYLE
(all smiles and charm)
Funny you should ask. I seem to be having this little problem with chemistry.

Cut to Max, who is watching Liz's conversation with Kyle, out of earshot and unobserved by either of them. He sees Liz laugh and starts to become a little uncomfortable with how much they seem to be enjoying their conversation.

MAX
(to himself)
They're just friends.

Cut back to Liz and Kyle.

LIZ
So I'll catch up with you later then, OK?

KYLE
(smiling)
OK, this is great. I really appreciate it; I definitely owe you for this one.

Liz gives him a smile that tells him she intends to collect on that IOU, then continues walking in the direction she was headed when Kyle stopped her. She sees Isabel and they exchange friendly greetings as they pass each other. Kyle turns when he hears Isabel's voice.

KYLE
(exuberantly)
Isabel!

ISABEL
(imitating him)
Kyle!

KYLE
So, what's new with you?

ISABEL
Not much, what about you?

In the background we see that Max, who was about to leave after seeing Liz leave, stops short with a "what the hell" look on his face. He stays to observe them. They do not see him, nor does he approach them.

KYLE
Well, since you asked ... I had a dream about you last night.

ISABEL
I kn--

She stops herself just in time then smiles sweetly.

ISABEL (cont'd)
Really? I hope it was a good one.

KYLE
(sincerely)
Wouldn't it have to be, with you in it?

In the background we see Alex coming out of a classroom directly behind Isabel. He stops when he sees her with Kyle. She does not know that he is behind her watching. Isabel laughs lightly at Kyle's remark. She briefly, but affectionately, touches him on the arm as she responds. Alex tenses slightly and Max's eyes widen in disbelief. Kyle notices Alex but makes no indication that he does to Isabel.

ISABEL
Well, I can't say so ... but you can.
(beat)
So, can I ask what it was about?

KYLE
Sure, I dreamt I asked you to the dance ...

He gestures towards the posters on the walls.

KYLE (cont'd)
... and you said yes.
(beat; pouring on the charm)
What are my chances that my dream will come true?

Isabel's laugh is the type you laugh when you are uncomfortable. Alex recognizes it and smiles. Unseen by Alex, Isabel smiles cryptically at Kyle.

ISABEL
I'd say 50-50.

Alex's smile fades immediately. Kyle is pleasantly surprised.

ISABEL (cont'd)
Look, I have to meet someone, so I'll talk to you later, OK?

KYLE
(smiling)
OK!

Alex steps back so that Isabel does not see him as she continues walking in the direction she was headed when Kyle stopped her, which takes her past Max. She's in a hurry so she just smiles and says "Hey" as she passes. She does not notice the look of consternation on his face as he returns her greeting. The camera cuts back to Alex as he steps into the hallway and comes face to face with Kyle, who smiles smugly at him.

ALEX
She didn't say yes.

KYLE
She also didn't say no.

Cut to:

  24 INT. WEST ROSWELL HIGH 2nd FLOOR ERASER ROOM - DAY

Max, Michael, Isabel, Alex and Liz are all crammed into the eraser room. There is a knock on the door and then Maria enters and closes the door behind her.

MARIA
(noticing the cramped conditions)
This is cozy.

MAX
This will also be quick. I just wanted to let you know that there's a possibility Larry hasn't moved on to other things like Jen told you two.
(he indicates Liz and Maria)
He may still be digging into the Hubble affair.

LIZ
What makes you think so?

MAX
I saw Larry talking to Ty Appleton.

MARIA
Who's Ty Appleton?

MICHAEL
The guy who gave me a ride out to Pepper's Café, the night Valenti shot Hubble.

ISABEL
(nervous)
You mean he witnessed it!?

MAX
No ... at least not that we know of.

MICHAEL
His turn off came up about a quarter mile before Pepper's. He dropped me off there and continued south. I walked east till I got to the café and he never came by that I saw.

LIZ
So then he isn't a real threat.

MAX
We don't know for sure. We do know he can place Michael in the vicinity at the time of the shooting. That's not good.

ISABEL
(under her breath)
Nothing ever is.

MARIA
So, what can we do about it?

MAX
I'm not sure about that either. Anybody got any ideas?

ALEX
We could ask Ty.
(at their surprised looks)
Without actually asking him ... You know what I mean.

MICHAEL
I tried; he wasn't home.

MAX
You what!? What did you do, Michael?

MICHAEL
(defiant)
Nothing! I just stopped by his place but he wasn't there, and he didn't come home all night.

LIZ
(concerned)
You were there all night?

MICHAEL
I thought it was important. Unfortunately it didn't get us anywhere.

MAX
I don't think you should be the one asking him anything anyway. It would be too suspicious.

ISABEL
I might be able to find out something.

MAX
How?

ISABEL
I could go to his place ... pretend to have car trouble ... ask to use his phone. I ... I could mention I've heard there were sightings near there, see if I can get him talking about the UFO Center and Larry.

MAX
Sounds plausible, but I don't like the idea of you doing this alone.

ISABEL
Alex can be with me.

Alex stiffens slightly.

ALEX
(hesitantly)
Um, yeah, sure. No problem.

LIZ
What if he's at work? Do you know where he works?

MAX
I practically know his life story from all his visits to the UFO Center. Isabel, you should call the Cheese Factory to check before trying his home. Also, I'll be going into work by five; if he shows up there I can call you.
(beat)
So, um, I guess that settles it.

They all nod and voice their agreement. The meeting breaks up and they all leave the eraser room.

Cut to:

  25 INT. ISABEL EVANS'S BEDROOM - DAY

Isabel has a dress, purse and shoes laid out on her bed and she uses her powers to adjust the color of her purse and shoes. She's looking through her scarf drawer when there is a knock on her door.

ISABEL
Come in.

Max enters and shuts the door behind him.

MAX
So, is Ty at work?

ISABEL
No, he didn't go in today, so Alex went ahead to his house. He'll call me if Ty shows up.
(at Max's surprised look)
He said something about there being no reason we both should be sitting around doing nothing but waiting. Do you mind dropping me off there on your way to work?

MAX
No problem.
(glances at the outfit spread out on her bed)
What's with the outfit? It doesn't seem ... appropriate ... for a stake-out.

ISABEL
(with a knowing smile)
I just want to look attractive when I see him. I've noticed guys are more ... open and ... less aware of what they are saying, when I look my best.

Max smiles, then a look of concern crosses his face.

MAX
(trying to sound casual, but his anxiety shows through)
Speaking of attracting guys ... what's with you and Kyle? When did you two become an item?

ISABEL
What are you talking about?

MAX
I saw you with him at school today. You were being awfully friendly with him, considering we're not sure we can trust him.

ISABEL
Well, as the old saying goes, "Keep your friends close, and your enemies closer."

MAX
Do you have to get that close?

ISABEL
What, I'm not allowed to enjoy my work a little? Besides, Kyle seems like a good guy, deep down. He may not be an enemy after all. And, he's someone I can have fun with, without getting too involved.

MAX
And why does he want to be with you?

ISABEL
Excuse me!?

MAX
Oh! No, no, no... That came out wrong. I mean, do you think he has an agenda?

ISABEL
Yes. I think he's trying to get back at you because of Liz. And, it seems to be working.

Isabel gives him a mischievous smile, and Max grimaces, slightly chagrined for falling into Kyle's trap. Then Isabel's demeanor suddenly changes. With a sigh she sits down on her bed.

ISABEL
(despondently)
Oh, Max. Why does it have to be this way? Why do we constantly have to worry that people are out to get us? Why can't things just be normal?

Max sits beside her on her bed and puts his arm around her in comfort.

MAX
(consolingly)
Because we're not normal and our lives will never be normal.

With a wave of his hand he changes the color of her shoes to green and her purse to orange, neither of which are flattering with her dress.

MAX (cont'd)
(teasing)
But do you really want to be normal?

Isabel waves her hand over the shoes and purse, changing them back to a matching color. She smiles at Max.

ISABEL
I suppose not.

Cut to:

  26 INT. UFO CENTER - TWO HOURS LATER

Max is working on an exhibit. Ty arrives and heads straight for Larry. Max notices and surreptitiously pulls a cell phone from his pocket and dials a number.

Cut to:

  27 EXT. BITTER LAKE COUNTY ROAD STAKE-OUT POSITION - CONTINUOUS

Isabel and Alex are there, in Alex's car, parked behind some shrubbery, able to see Appleton's cabin, without being seen. Isabel looks exceptionally pretty. Her phone rings and she digs in her purse to get it.

Cut to:

  28 INT. UFO CENTER - CONTINUOUS

Max starts speaking even before Isabel can utter a greeting.

MAX
(sotto voce)
They're definitely up to something. Ty just arrived and it's obvious they're planning on leaving together.

We can see them making leaving motions.

MAX (cont'd)
I don't think they're heading to Ty's cabin. I heard Larry saying something about not being late for their appointment.

Cut to:

  29 EXT. BITTER LAKE COUNTY ROAD STAKE-OUT POSITION - CONTINUOUS

ISABEL
(to Alex)
Let's go! UFO Center!

Alex starts the car and pulls out from behind the shrubbery.

ISABEL
(into phone)
Try to keep them from leaving. We'll get there as soon as possible and follow them.

MAX (VO)
OK. Maybe I can interest him in the Foo Fighters.

There's a click as Max hangs up on his end.

ISABEL
(puzzled, to Alex)
Foo Fighters? Why would he talk to Ty about a rock band?

Cut to:

  30 INT. ROSWELL SHERIFF'S DEPT LOBBY - FIFTEEN MINUTES LATER

Amy walks into the Sheriff's Station and approaches Deputy Blackwood, who is behind the counter.

AMY
I'm here to see Jim. Can I just head to his office?

OWEN
(nods and smiles slightly)
I'm sure he won't mind seeing you.

AMY
(flattered, smiles back)
Thank you.

Amy heads towards Valenti's office.

Cut to:

  31 EXT. UFO CENTER - MOMENTS LATER

Max watches helplessly as Larry and Ty drive off in Larry's car, then breathes a sigh of relief when he spots Isabel and Alex driving up. He motions to them to follow Larry and Ty.

Cut to:

  32 INT. ALEX'S CAR - MOMENTS LATER

ISABEL
They can't be!

ALEX
They are. He's turning.

Alex pulls over and parks before the turn. He and Isabel look at each other with dread, then turn back to stare out the windshield of his car.

ALEX
This can't be good.

ISABEL
Nothing ever is.

Cut to:

  33 INT. SHERIFF VALENTI'S OFFICE - SAME

Valenti is sitting behind his desk filling out paperwork. He's scowling and turning pages roughly, indicating he's not in the best of moods. There's a knock on his closed door. He does not look up.

VALENTI
(barks out with authority)
Come in!

The door opens and Amy steps inside. Valenti is still engrossed in his paperwork.

AMY
(kidding)
I feel like I should salute.

Valenti looks up startled, then his face lights up with pleasure.

VALENTI
Amy! How nice to see you!

AMY
(teasing)
Are you sure? Because you sounded a little gruff when I knocked on the door.

VALENTI
(slightly embarrassed)
Oh ... um ... sorry about that. Um ... Hanson's been ... well ... I thought you were someone else.
(beat)
What brings you here? Not that you aren't welcome! You are always welcome.

Pleased and flustered by his remarks, Amy smiles, then chuckles nervously.

AMY
Thank you, Jim. Anyway, the reason I came ... I've been giving your dinner idea some thought ...

VALENTI
(eagerly)
And ...?

AMY
I think--

Amy is interrupted by the sound of an argument taking place out in the lobby. She turns to look in that direction, then back at Valenti with a concerned look on her face. Valenti stands.

VALENTI
(annoyed)
Sorry. I hope you don't mind but I better go see what that's all about.

AMY
(understandingly)
No problem.

Valenti brushes past Amy as he quickly exits out his doorway and into the hallway.

Cut to:

  34 INT. ROSWELL SHERIFF'S DEPT - LOBBY - CONTINUOUS

Deputy Blackwood and Deputy Hanson are trying to calm down Larry. Ty Appleton is standing off in the corner, trying not to get in the way.

HANSON
I swear to you, Deputy Green isn't here; he's on a call.
(under his breath to Owen)
No wonder he was so anxious to volunteer for it.

LARRY
(shouting; extremely agitated)
You're lying! You can't fool me! It's a conspiracy! You just don't want me talking to someone who will listen.

OWEN
I assure you, sir, we are listening.

HANSON
(under his breath to Owen)
We don't have a choice.

Owen gives him a warning look out of the corner of his eye.

LARRY
I demand--

Valenti enters the lobby, with Amy close on his heels.

VALENTI
(shouting over Larry)
What's this all about!?

Cut to commercial.

END OF ACT III


  ROSWELL: WHAT MIGHT HAVE BEEN - "The Witness" - ACT IV - 08/28/02

ACT IV


  35 INT. DE LUCA LIVING ROOM - LATER

Michael and Maria are sitting on the couch. Michael is calmly watching a hockey game on TV. Maria is a bundle of nerves. Michael looks over at her and takes her hand. Maria looks at him gratefully. Michael moves her hand closer to him and looks at her watch, then turns back to the game. Maria glares at him.

MARIA
How can you be so calm and just sit here watching a hockey game?

MICHAEL
(eyes peeled to the screen)
Huh?

MARIA
(to no one in particular)
I can't believe she's late! She's giving me all this time to worry about what's gonna go wrong.
(to Michael)
And you're no help! Why don't you do something to distract me?

Michael turns to her then leans in to kiss her; she backs away.

MARIA
What are you doing!?

MICHAEL
Distracting you.

MARIA
Not like that! My mother could walk in any minute.

MICHAEL
(nonplussed)
I thought it was supposed to be OK for us to kiss here.

MARIA
It is, I just don't want it to be the first thing she sees when she gets home.

MICHAEL
Suit yourself.

He goes back to watching the game. Maria is ready to explode from nerves.

MARIA
OK, but just one quick one ... to help my nerves.

Michael smiles and obliges by leaning in. As soon as their lips touch, they hear the back door open and instantly break apart. When Amy comes in from the kitchen, she finds them innocently sitting side by side on the living room couch, watching TV. They get up when she enters the room.

AMY
Michael! What are you doing here?

MICHAEL
(confused)
You told Maria to make me come for dinner.

Maria winces at his choice of words.

AMY
Oh, was that tonight? Yes, of course it was. I was going to pick up the rest of the groceries after I stopped by Jim's office. I guess I forgot ...

MARIA
Mom, are you okay?

AMY
Am I? ... No, I'm not. There was trouble at the Sheriff's Department.
(looks at Michael)
And it was about you.

Michael is stunned; Maria's eyes grow as big as saucers. She takes Michael's hand in hers.

Cut to:

  36 INT. SENOR CHOW'S RESTAURANT - BOOTH - SAME

Phillip, Diane, Jeff and Nancy are all seated in the booth having dinner together. They are all laughing at something that was just said; it is obvious that they are all getting along well.

JEFF
(shaking his head)
I know it seems hard to believe now, but I was actually beginning to worry that they would be getting in trouble with the law next!

NANCY
It's so nice that we were able to sit and discuss it and come to an agreement on how to resolve this.

DIANE
(smiling)
And that hopefully it will be settled by Max's birthday.

JEFF
So, you said you brought Max's schedule with you; is he free on Saturday morning?

PHILLIP
(checking schedule)
Max doesn't start work until 1:00 PM on Saturday, so yes, he could spend Saturday morning with you.

JEFF
Great.
(to Diane)
And we can switch Liz to the later shift at the Crashdown so she can spend the morning with you.

DIANE
That's perfect. And perhaps we could invite Liz, and you could invite Max over for dinner one evening during the week.

NANCY
(smiling)
Sounds like a plan!
(she raises her glass in a toast)
Here's to getting to know each other's kids better, and keeping them out of trouble.

They all clink their glasses together and call out "Hear, hear!"

Cut to:

  37 INT. DE LUCA LIVING ROOM - CONTINUOUS

MARIA
(frantic)
What trouble is Michael in!? What happened at the Sheriff's Department!?

AMY
Have you met Jen's husband Larry?

Michael tenses.

MARIA
(apprehensively)
Larry Trilling? Yeah, why?

AMY
He caused a major scene. He kept yelling about conspiracies and--

MARIA
(interrupting)
Mom, there's something you have to know about Larry. He's obsessed with, um ... well, aliens.

AMY
(looks at Maria for a beat, then furrows her brow)
Really? No one said anything about aliens. It was about a shooting at that abandoned café in Bitter Lake--Pepper's Café.

Amy looks from Maria to Michael. Trying to remain calm, Michael meets Amy's eyes, but Maria can tell that he's poised to head for the nearest exit. She tightens her grip on his hand.

MARIA
(apprehensively)
What did Larry say?

AMY
Larry wouldn't tell them much of anything. He kept insisting he would only speak to Deputy Green, because he was the only one who would listen to him.

Maria and Michael exchange confused looks.

AMY (cont'd)
They had to convince his witness, Ty ... Ty ... Appleton, to do all the talking. And Larry didn't seem too happy about that.

MICHAEL
(nervously)
What did he tell them?

AMY
He claimed that he gave you a ride to Pepper's Cafe, the night of the convention and that he and Larry surmised that you must have been there when some sick man ... um ... I think they said his name was Hubble, was shooting at nothing.

Michael looks stunned.

AMY (cont'd)
Yes, I was shocked too. It turns out this Hubble person was dangerous; he nearly killed Jim! Jim was forced to shoot Hubble in self-defense.

MICHAEL
(hesitantly)
And did they believe I was there?

Amy suddenly realizes how tense they both are and rushes to reassure them.

AMY
Oh, no, no, no. Jim was the only other person there. He said so.

Michael and Maria visibly relax.

MARIA
So, Mom, this Ty Appleton--does he have something against Michael?

AMY
Um, I don't think so. It turns out he's some kind of police junkie-- always going to the police, claiming to be a witness to crimes. He means well; he wants to help the police and goes too far. Jim said this has happened before. But this Larry ...
(pause)
I don't know about being obsessed with aliens, but he's definitely obsessive. He thinks he's some sort of investigator. He's going around asking questions; he even went to your high school and tried to talk to Kyle. Jim saw them together.
(to Maria)
I don't know what this guy's problem is but I want you to stay away from him.
(to Michael)
And I think you should be careful too.

MICHAEL
I will.

MARIA
Thanks, Mom.

(pause)

Maria gives Michael a nudge in the ribs with her elbow.

MICHAEL
Right ... thanks.

Cut to:

  38 INT. JEN AND LARRY'S LIVING ROOM - SAME

Larry is seated at the desk, wearing headphones, listening to cassettes on his tape recorder; two stacks of tapes are arranged in front of him: one tall stack on the left and a smaller stack with two tapes on the right. Larry presses the stop/eject button. He removes the tape, writes a large X on the label, and adds it to the stack on the left; the cassettes fall over. Larry looks at them dejectedly, then, sighing, he reaches for the next one on the right. He puts the tape, which is marked "trailer park interviews" into the cassette player and pushes play with an air of resignation. Over his headphones he hears:

MAN'S VOICE #1 ON TAPE
What's strange in Roswell? You mean besides you?
(sound of door slamming)

Larry hits fast forward, then releases the button.

WOMAN'S VOICE #1 ON TAPE
... waste my money at UFO Conventions.

Larry hits fast forward, then releases.

MAN'S VOICE #2 ON TAPE
Get lost!

Larry hits fast forward, then releases.

MAN'S VOICE #3 ON TAPE
Nothing seems strange to me since I got back from Alpha Centauri.

Larry hits fast forward, then releases.

WOMAN'S VOICE #2 ON TAPE
Strange? The strange thing was that social services left a kid with my ex-neighbor, Hank Whitmore. I wouldn't trust that boozer with a pet rock.

Larry perks up and flashes to what Ty said about Michael being raised by an alcoholic foster parent. He remembers something and fast forwards to a spot near the end of the tape.

WOMAN'S VOICE #3 ON TAPE
... trailer of that drunk Hank who--

Larry stops the tape and rewinds briefly, then releases the button.

WOMAN'S VOICE #3 ON TAPE
... strange animal-like sounds, barely human, coming from the trailer of that drunk Hank who used to live next to me. Thank God, he left the next day!

Larry smiles.

Cut to:

  39 INT. DE LUCA KITCHEN - EVENING

Maria is helping her mother set the table for dinner. Michael steps into the kitchen and she rushes over to him, trying to not make it too obvious.

MARIA
(sotto voce)
Did you call the others to tell them the crisis is over?

MICHAEL
Yeah.

They both walk over to the table and sit. Amy sets burgers and fries on the table, then realizes she forgot something.

AMY
Oops, I almost forgot the ketchup.

MARIA
Oh, and can you bring the Tabasco sauce too?
(at Amy's surprised look)
Michael likes things spicy.

Amy nods and goes to the refrigerator to get the ketchup and Tobasco. Maria starts to eat, but notices Michael is not touching his food.

MARIA
What's the matter? Aren't you hungry?

MICHAEL
Yeah.

MARIA
Then what are you waiting for? Dig in!

MICHAEL
(confused)
Aren't we supposed to wait until everyone is seated at the table before we start to eat?

Maria stops in mid-bite. Amy beams as she heads back to the table with the ketchup and Tabasco.

AMY
Oh, you dear, sweet boy! Aren't you thoughtful!

Amy gives Michael a little pat on his shoulder as she sits down.

AMY (cont'd)
You know, Maria, you could learn a thing or two about manners from Michael.

Maria almost chokes on her mouthful. Michael is feeling very full of himself, and loving every minute of Maria's discomfort.

MARIA
(glaring back at Michael as she replies to Amy)
Obviously you don't know Michael very well.

AMY
Which brings us to why I asked Maria to invite you to dinner.

Michael's demeanor changes; he tenses, ready for the onslaught he thinks is coming.

AMY
I think it's important that we get to know each other, and understand each other. Do you agree?

MICHAEL
(guarded)
Sure.

AMY
As you probably know, I find you and Maria spending time at your apartment ... disturbing. Teenagers are not exactly known for their self control, and I think it shows very poor judgment to put yourselves in situations where, if you lose control, you have no way of reining yourselves in. Maria is the most important person in my life. I want what's best for her. I want her to have a promising future. I don't want her to act impulsively and do things that might ruin that promising future. Do you understand?

MICHAEL
Yes.

AMY
Then convince me.

MICHAEL
Convince you?

AMY
Yes, convince me that Maria, and her future are important to you. That you won't lead her astray, or hurt her in any way at all.

MICHAEL
I'm not gonna let anything bad happen to her.

AMY
How do I know that? Tell me why I should believe you.

MICHAEL
(bewildered)
I don't know! Because ... because ...

Michael looks at Amy who is looking at him expectantly. He looks down and sighs. When he looks up again, and speaks, his voice is choked with emotion.

MICHAEL (cont'd)
Because I care about Maria too much to let anyone hurt her ... including myself.

Maria looks on in amazement. Amy smiles.

AMY
I believe you, Michael. I believe that you wouldn't purposely hurt her, or deliberately let your own desires take over, but there are going to be times when you are both on emotional overload, and throwing caution to the wind will seem very attractive.
(beat)
How are you going to prevent that from happening, so Maria, and you, do not end up getting hurt?

Michael bites his lower lip, as he ponders this; then it comes to him and he gives Amy a wry smile.

MICHAEL
By not putting ourselves in situations where, if we lose control, we have no way of reining ourselves in.

Amy turns to Maria, smiling.

AMY
I like this boy - he learns fast.

Maria reaches across the table and takes Michael's hand in hers, smiling and looking into his eyes.

MARIA
Yeah, I do too.

(pause)

AMY
I'm not going to forbid you to see each other at Michael's apartment.

They both give her surprised looks.

AMY (cont'd)
You are both almost adults and you need to start behaving responsibly on your own. I'm going to trust that you can do that. I also want both of you to promise me that you will not put yourself in situations where you might lose control, and I'm going to warn you that Michael's apartment is one of those situations.
(beat)
Now, do you promise me?

MARIA
(reluctantly)
Yes.

MICHAEL
(taking his cue from Maria)
Yes.

AMY
Good! Now that that's settled, let's get back to dinner.

Dissolve to:

  40 INT. DE LUCA LIVING ROOM - LATER

Michael and Maria are standing by the front door. Michael is kissing Maria like he can't get enough of her. They finally break, to come up for air.

MARIA
See, I told you tonight wouldn't be so bad.

MICHAEL
Yeah, your mom's OK.

MARIA
So, you have no problem hanging out here, instead of at your place?

There is a long pause. Michael has a pained expression on his face. Maria puts her hand on his cheek.

MARIA
Michael? What's wrong, Michael?

MICHAEL
I've been thinking about what your mom said at dinner and I realized that, if we continue seeing each other, you are gonna get hurt. Just being who I am can hurt you in so many ways, and I ...
(stoically)
I don't want to be responsible for you getting hurt. I couldn't live with that.

He looks away.

MICHAEL (cont'd)
That's why I don't think we should see each other anymore.

MARIA
Michael, you're talking nonsense. Nothing's gonna happen. I'm not gonna get hurt.

MICHAEL
You don't know that for a fact.

MARIA
Nothing in life is certain.

MICHAEL
It's safer this way. I don't want to take the chance.

MARIA
(desperate; tears streaming down her face)
You can't do this, Michael. You say you don't want to hurt me, but you are doing it right now!

MICHAEL
This is just a little hurt; it's nothing compared to what could happen. I'm sorry, this is the way it's gotta be.

He kisses her on the forehead, opens the front door and leaves.

MARIA
(calling out)
Michael! No!

Amy comes rushing in.

AMY
What? What happened? What's wrong?

MARIA
(sobbing)
It's OVER, that's what's wrong!

AMY
What!? Why? Because he doesn't want to keep his promise?

MARIA
(still crying)
No, because he doesn't want to hurt me.

Maria runs off to her room, leaving Amy looking nonplused.

Cut to:

  41 INT. ALEX WHITMAN'S BEDROOM - SAME

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:

  42 INT. EVANS LIVING ROOM - SAME

Max, Phillip and Diane are all seated in the living room.

PHILLIP
Your mother and I have been discussing your forced separation...

Cut to:

  43 INT. PARKER LIVING ROOM - SAME

Liz, Jeff and Nancy are all seated in the living room.

JEFF
... from Max. We also discussed it with the Evanses and we decided that maybe we were hasty in our initial decision.

Cut to:

  44 INT. EVANS LIVING ROOM - CONTINUOUS

PHILLIP
After all, we don't really know Liz...

Cut to:

  45 INT. PARKER LIVING ROOM - CONTINUOUS

JEFF
If Max can prove to me--
(glancing at Nancy)
I mean us... that he is not a bad influence on you...

Cut to:

  46 INT. EVANS LIVING ROOM - CONTINUOUS

PHILLIP
If your mother and I could spend some time with her...

Cut to:

  47 INT. PARKER LIVING ROOM - CONTINUOUS

JEFF
Then maybe we'll change our minds.

Cut to:

  48 INT. EVANS LIVING ROOM - CONTINUOUS

PHILLIP
... and you can see Liz again.

Cut to:

  49 INT. PARKER LIVING ROOM - CONTINUOUS

JEFF
... and you can see Max again.

Liz is all smiles. She gets up, as do Jeff and Nancy. Liz goes over and hugs her dad. She mouths a "thank you" to her mom who smiles.

Cut to:

  50 INT. EVANS LIVING ROOM - SAME

Max is all smiles.

MAX
(looks at his parents in turn)
Thanks, Dad! Mom! I know you'll love Liz.

Max hugs them both.

Split screen:

We see both Max and Liz going to their rooms. They each sit at their desks. Max takes the picture of Liz he had used as a marker for the end of his previous grounding and tapes it to the square for March 15 over the words "party" and "grounding ends". Liz draws a heart, with the word Max in the middle of it on the same date on her new calendar right above the words, "Max's birthday". She touches the words and her eyes glisten. They both go over to their beds. Max lies down on his back. He reaches into his pocket for his wallet and pulls out Liz's picture. Liz picks up the picture of Max in the heart-shaped frame from her night stand, then stretches out on the bed. Each places a hand on the picture of the other; they close their eyes and concentrate.


Let me sleep
for when I sleep
I dream that you are here
You're mine
and all my fears are left behind
I float
on air
the nightingale sings gentle lullabies

so let me close my eyes
and sleep
for chance to dream
so I can see the face I long to touch
to kiss
But only dreams can bring me this
so let
the moon
shine softly on the boy I long to see
and maybe when he dreams
he'll dream of me

Up high beneath the clouds
I'd whisper to the evening star
they tell me love is just a dream away
::dream away dream away dream away::
I'll dream away

So let the moon
shine softly on the boy I long to see
and maybe when he dreams
he'll dream of me
ooh dream of me

Kirsten Dunst's Dream Of Me

Fade Out

END OF ACT IV


Roll Credits


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