ROSWELL: WHAT MIGHT HAVE BEEN - "Who Am I?" - ACT IV - 06/09/04

ACT IV


  41 INT. PETERSON HOUSE - KITCHEN - LATER

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

MARIA
(quietly)
They're finally both asleep.

MICHAEL
(with a touch of frustration)
How about Kimbie, Joey's imaginary friend?

MARIA
(smiles)
Him too.
(looks around)
Looks like you have everything under control in here.

MICHAEL
(with gratitude)
But I never would have without your help. I ... I really appreciate you coming tonight.

MARIA
(smiling)
It was my pleasure. I was glad I could be there for you.

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

MARIA (cont'd)
I think we earned a break. Why don't we go watch some TV.

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

MICHAEL
So, how did the dinner go?

MARIA
Not as bad as I thought it would be ... and I guess it was a good thing I was there or I never would have been able to warn Liz, Max, and Alex about Deputy Green.

MICHAEL
(with slight sarcasm)
Yeah, lucky for you they answered their cell phones.

MARIA
(ignoring his sarcasm)
I guess we'll have to be careful when and where we set off the signal; just as Alex predicted, we seem to be attracting the wrong kind of attention.

MICHAEL
(heavy sigh)
Par for the course.

They sit and watch the TV for a moment.

MARIA
(still looking at the TV, but no longer watching)
I miss your attention. I miss you.

MICHAEL
(trying to be stoical)
Don't. It won't change anything.

Frustrated, Maria gets up and starts pacing.

MARIA
(agitated but keeping her voice low)
You can forget the charade. I can tell you miss me too.

She stops her pacing to confront him.

MARIA (cont'd)
Admit it, you want to get back together.

MICHAEL
(weakening)
I want to say yes, but I can't.

MARIA
Why?

MICHAEL
Because it's selfish. I'm only thinking about what I want instead of what you need--which is to be safe. I couldn't live with myself if anything happened to you.

MARIA
Did you ever think that it might be selfish of you to only consider how you'd feel? That maybe you're just protecting yourself from getting hurt, instead of me?

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

MICHAEL
So, it's selfish of me to want to be with you, and it's selfish of me to not want to be with you. It figures I'm wrong no matter what I do.

MARIA
Michael, it's not wrong for you to care what happens to me, but it is wrong if you think you can protect me by not being with me. It's also wrong for you to shut yourself off from people because they, or you, might get hurt.

Michael stops pacing and looks directly at Maria.

MICHAEL
(adamant)
But, I don't want to be responsible for you getting hurt.

MARIA
You won't be. If I get hurt, there are only two people responsible: the person who deliberately hurt me, and me.

MICHAEL
You?

MARIA
Yes, me. I know that being involved with you is risky--
(looks to the heavens)
in oh so many ways--
(looks back at Michael)
but I choose to be with you anyway; that makes it my responsibility.

MICHAEL
Why would you take that risk, when you don't have to?

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

MARIA
Because being with you means more to me than being ... safe.

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

MARIA (cont'd)
Besides, I always feel safer when I'm in your arms. And I'm probably safer with you than without you.

MICHAEL
That's what Max said.

MARIA
(looking up at him, teasing)
You should listen to Max ... you should listen to me.

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

MICHAEL
You better go. The Petersons will flip out if they find out I had my girlfriend over, even if it was to help.

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

MARIA
Your girlfriend ... I like the sound of that.

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

MICHAEL
So do I.

They kiss.

Cut to:

  42 EXT. WEST ROSWELL HIGH SCHOOL - QUAD - DAY

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

ALEX
Yeah, nepotism reared its ugly head and the dance committee chairperson's cousin got the gig.

MARIA
I still can't believe that.

Isabel overhears this as she approaches their table.

ISABEL
I'm afraid I'm slightly responsible for that.

ALEX
(puzzled)
How?
ISABEL
(sitting at the table)
As you know, Elana and Vanessa are on the dance committee and I just happened to mention to them that I wanted to go to the dance with you ... but that was before I knew you had tried out.

MARIA
I knew it! How else could Sandy have persuaded the other committee members to vote for "The Alienettes". God, even their name sucks!

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

ALEX
(amazed)
You told them you wanted to go to the dance with me?

ISABEL
Yes and they misinterpreted that as my asking them to throw their votes. I never would have asked them to do that. I'm so sorry, Alex ... Maria. I hope you can forgive me ... and them.

MARIA
You, yes, it wasn't your fault but I think I need to teach Elana and Vanessa a lesson.

LIZ
(puzzled; as an aside to Maria)
I thought you were happy you didn't get the gig?

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

MARIA
(to Liz, under her breath)
It's the principle. Will you help me formulate a diabolical plan?

LIZ
(smiling)
Gladly.

Liz and Maria take off.

ALEX
Well, I can't speak for Nicky, Chris, or Marcos, because now they only have two weeks to find dates ...
(beat; smiling; takes her hand)
But I'm having a little difficulty being mad at them.

Isabel beams.

Cut to:

  43 INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - SAME

Michael and Max are walking down a hallway, talking.

MICHAEL
(frustrated)
We've got nothing. It's been two days and we've got nothing.

MAX
Relax, Michael. Did you think we were going to solve all our mysteries in two days?

MICHAEL
I thought we'd discover something. Alex still doesn't know where Hank is or who this Desert Man might be, Isabel can't dre--
(stops in mid-sentence realizing he's in a public place)
... "visit" him to find out, no one is responding to the signal, the sketch I did of Nasedo is worthless--it could be anyone ... we're no better off than before I drew this Desert Man.

MAX
You have to be patient. We'll discover something soon; I can feel it. Alex is still doing his research and Isabel and I are going to try again tonight. What are you doing?

MICHAEL
River Dog asked me to come see him at the cave tonight.

MAX
Why? I thought he said he couldn't help.

MICHAEL
I don't know. He wouldn't say; he was being very cryptic.

MAX
(dryly)
How unusual.

Cut to:

  44 INT. MESALIKO RESERVATION CAVE - NIGHT

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

MICHAEL
Hey.

RIVER DOG
(calmly)
Hello, Michael. I'm glad you decided to come.

MICHAEL
So why did you want me to meet you?

RIVER DOG
I sensed you were troubled. I hoped I might be able to help.

MICHAEL
(slightly taken aback)
Um, yeah, well thinking about Nasedo can be troubling.

RIVER DOG
Understandable.

MICHAEL
It's just the not knowing--is he good or is he bad? Is that what you wanted to talk to me about?

RIVER DOG
That and other things.

MICHAEL
So why did you want to meet here? We were talking about Nasedo at your place. Why didn't you think you could help me there?

RIVER DOG
The sounds of the outside world do not penetrate this cave, so I like to come here to meditate. Meditation helps me to stay focused, to maintain control of my emotions in times of trouble. I'd like to teach you this technique; I think you would benefit greatly from it. Would you like to try?

MICHAEL
(at a loss for what to say)
Um... sure... yeah... I guess... OK. As long as there's no sweating involved.

RIVER DOG
(smiling)
I promise, there'll be no sweating.

MICHAEL
OK, good. So why tonight? Why didn't you want to meet Wednesday night or yesterday? Are the stars in some special alignment that helps with the meditation?

RIVER DOG
No, tonight was just the first time I had available. Are you ready to begin?

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

RIVER DOG
I hope you feel better from your meditation.

MICHAEL
(surprised)
Yeah... I do.
(beat)
Would it be OK if I came back sometime?

RIVER DOG
Of course. Until next time.

MICHAEL
When will "next time" be?

RIVER DOG
You'll know.

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

RIVER DOG
Are you not leaving?

MICHAEL
No, I thought I'd stay and check out the symbols Nasedo left ... if you don't mind.

RIVER DOG
Not at all. Good luck with your quest to find answers from your past.

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

Cut to:

  45 INT. MAX EVANS'S BEDROOM - TWO HOURS LATER

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

MICHAEL
(pointing to the book)
I think I know what it's trying to tell me ... I think I now know where our pods are.

Isabel and Max move in closer to Michael, intrigued.

MAX
Where?

ISABEL
How do you know?

MICHAEL
The visions were the same as when I lost my "balance", except for one. It was of a sign lying on the ground. The sign said "Pohlman Ranch". All we have to do is find this Pohlman Ranch.

MAX
(excited)
Did you see the pods?

MICHAEL
No.

ISABEL
(puzzled)
Then how do you know they're there?

MAX
(pointing to the book)
Yeah. You can't suddenly read those strange symbols can you? ... Can you?

MICHAEL
No, and I don't know that the pods are there ... I mean I do, but ... I just sensed it; it's nothing I read or saw, nothing tangible, just a feeling.

MARIA
(to Max and Isabel)
Does it matter what's there? This is still a new clue worth exploring, right?

MAX
Yes, right. Does anyone know where Pohlman Ranch is?

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

ALEX
OK, where should we look first?

LIZ
Hall of Records; see if we can find a deed with an address.

Alex starts typing on the keyboard.

ISABEL
This might take a while. I think I'll tell Mom and Dad that we are having an all-night study session for a test on Monday so they won't get suspicious.

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

ALEX
Wait, I think I found something.

They all gather round.

ALEX
I think it's out by the Vasquez Rocks.

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

MAX
(to Isabel and Michael)
That's one of the few places we never looked.
(to the others)
We thought it was too far from the crash site to be feasible.

MICHAEL
Well, it just became feasible.

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

Cut to:

  46 INT. JEEP - MORNING

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

ALEX
(turning to face forward)
It doesn't appear that we are being followed.

ISABEL
That's a relief.

LIZ
Yeah, it was probably a lot easier to explore your beginnings before, when there was less suspicion about you, when you didn't have to constantly look over your shoulder.

MAX
Easier maybe, but not as fruitful. And we've always felt the need to look over our shoulder--to be sure no one was watching.

LIZ
What have you three done in the past to find your pods or something from your past to tell you who you are?

MAX
We all used to go out to the desert, near the supposed '47 crash site.

ALEX
Why the crash site and not where your parents found you? Wouldn't that have been closer?

ISABEL
They never told us exactly where they found us, just said the desert. They probably didn't want us going out there on our own. If they knew we rode our bikes out to the crash site on a regular basis they would have had a fit.

MAX
We hoped it would stir a memory, but it never did. So we resorted to using metal detectors hoping to find something from the ship that the military and all the scavengers before us might have missed.

Cut to:

  47 INT. JETTA - SAME
MARIA
This must be like an answer to your dreams.

MICHAEL
I used to dream that we'd find something that would lead us to the ship and I could just hop in and fly us all home. I searched this desert with a fine- toothed comb, studied every rock, every crevice ... always hoping. It was slow going, but I never gave up hope.

Cut to:

  48 INT. JEEP - CONTINUOUS

MAX
Eventually Isabel gave up, but Michael and I kept coming out. The Jeep helped us cover more territory, but we never found anything.

Cut to:

  49 INT. JETTA - CONTINUOUS

MICHAEL
Now we're finally getting somewhere, finally finding pieces.

  50 INT. JEEP - CONTINUOUS

ISABEL
We've learned more about ourselves in the last six months than in all the ten years before.

MAX
(turns to Liz, then Alex)
We owe a lot of that to you. The three of you helping us has made an amazing difference. We want you to know, we really appreciate your help.

ALEX
(answering Max, but looking at Isabel)
We're glad we can be here for you.

Cut to:

  51 EXT. ROSWELL DESERT - VASQUEZ ROCK FORMATION - CONTINUOUS

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

Cut to:

  52 INT. JETTA - CONTINUOUS

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

MICHAEL
It's just like my vision.

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

ISABEL
(to Max)
Look!

Max sees the Whirlwind Galaxy symbol Isabel is pointing at.

MAX
That must have been the first thing I saw when I emerged. That's why it stuck in my mind.

ISABEL
(in awe at the whole situation)
It's all starting to come together. We're getting closer and closer to knowing who we are.

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

ISABEL
(softly)
Did you ...?

MAX
Yes.

ISABEL
(cautiously)
Was it something you recognized?

MAX
No, but it felt familiar.

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

MICHAEL
(to Max and Isabel)
Do you think we are only able to open our own pods?

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

MICHAEL (cont'd)
I tried to re-open it and I couldn't ... I didn't know if it was just me or ...

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

MAX
Liz, we want to try something. You'll have to step out for a moment.

Liz complies but the chamber remains open.

MICHAEL
Everybody step back, away from the opening.

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

MAX
(to Michael, impressed)
Looks like your theory is correct.

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

MARIA
What's wrong?

MICHAEL
(dejectedly)
I can't find it. I can't sense my own pod. Max and Isabel could but I can't ... it figures.

MARIA
(supportively)
Are you forgetting who it was who "sensed" where to find the chambers in the first place? Don't be so hard on yourself.

Michael looks at her with a spark of hope.

MARIA (cont'd)
You said you found the book right after River Dog taught you some meditation techniques; maybe that helped you to focus. You just need to focus.
(taking his left hand in hers and looking deep into his eyes)
Try again.

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

LIZ (VO)
I've discovered that on the road to finding out who you are there are many detours, many surprises. You start out in search of one thing, and find something totally unexpected.

Cut to:

  53 INT. MESALIKO RESERVATION CAVE - SAME

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

Fade out.

END OF ACT IV

Roll Credits

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