"Who Am I?"
(Episode #121)


Story By
Joan Pickering and Erica Cavin


Written By
Joan Pickering
with
Erica Cavin


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





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

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




TEASER


  1 INT. CRASHDOWN - MAIN DINING AREA - NIGHT

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

LIZ (VO)
Who would have thought we would spend so much time discussing a low-life like Hank? But when you're trying to discover who you are, where you're from, and why you're here, everything that happens to you, and the people in your life, must be studied as a possible clue. Right now, however, all we have are more questions. What happened in the alley? Was it good? Bad? Should we be worried? Does it have anything to do with Max, Isabel, and Michael? Does it have nothing to do with them? Just because it's odd, it doesn't necessarily mean it's Czechoslovakian. And just because we never found another exit or secret passageway, it doesn't mean there wasn't one. Hank's disappearance from that alley could still be totally normal. So why do we keep speculating otherwise?

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

LIZ
So, Max, how do you think Bohr's theory on the structure of the atom applies to the lesson in Chapter 25?

MAX
(startled)
Huh!? Oh ...
(sheepish grin)
Well, what can I say, Bohr's theories on chemistry haven't been able to capture my attention ... unlike other forms of chemistry.

He leans toward her and they kiss across the table.

LIZ
(smiling)
Ummm, nice ... and nice try! You may be able to fool others into believing your lack of interest in the sciences, but I know your little secrets.
(more seriously)
You like chemistry almost as much as I do. I think what's distracting you from it is our little puzzle--what happened to Hank in the alley.

MAX
(nodding)
I've been wondering what Larry's involvement in all this is.

LIZ
Yeah, that was weird. Why would Larry care if Hank was missing, unless, you know, it was alien-related? And was Hank really missing before? And why did Hank suddenly show up out of the blue and then just as suddenly disappear into ...

MAX
(smiling)
Thin air? You're not backing Maria's alien abduction theory, are you? That the flash of light was from a spaceship that "beamed" him up? I think it would hold more water if the other guy had run screaming from the alley instead of calmly walking out.

LIZ
(smiling)
Maria's changed her mind. She said that no beings intelligent enough to cross space would want Hank.

MAX
(laughing)
Not very scientific.

LIZ
(teasing)
Unlike the "scientific" shapeshifting possibilities we discussed earlier this week.

MAX
(slightly chagrined)
I know. We probably never would have even considered that "Hank" shapeshifted into another person if Hubble hadn't accused me of being a shapeshifter, and he's hardly a reliable source of information.

LIZ
Did you ever explore that? To see if maybe you could shapeshift?

MAX
Yes, right after I learned about it from Hubble.

  2 FLASHBACK - INT. MAX EVANS'S BEDROOM - NIGHT

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

ISABEL
This is boring.

MICHAEL
And a waste of time.

MAX
How can exploring a new power be a waste of time?

MICHAEL
Because we don't know how to do it or even if it's possible. We only have Hubble's say so on that, and he was crazy.

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

MICHAEL (cont'd)
You're better at this power stuff than we are anyway. Why don't you let us know if you figure something out.

Michael exits by the window.

FLASHBACK TO PRESENT

LIZ
And did you keep trying?

MAX
Yeah, but I never got anywhere.
(shrugs)
Maybe I just don't know how, or maybe it's just not possible.

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

MARIA
(with a nod toward the other booth)
It's West Roswell's newest couple.

MAX
(smiling, eyebrows raised)
What?

MARIA
Haven't you noticed? Those two have been inseparable for over a week! Ever since Alex told us about Hank in the alley and Michael tried to sketch the other guy based on Alex's description.

  3 FLASHBACK - INT. MICHAEL GUERIN'S APARTMENT - NIGHT

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

ALEX
No, the eyes were closer together ... the chin was stronger--

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

MICHAEL
I can't do this! I don't know how to draw people.

FLASHBACK TO PRESENT

LIZ
And since then they've both become obsessed with drawing the man Alex saw. It consumes every free moment they have ...

MARIA
... and some not so free ... like here at work and in classes. Driving everyone else crazy in the process.

MAX
Right. Especially Mr. Cohen.

  4 FLASHBACK - INT. WEST ROSWELL HIGH SCHOOL ART CLASS - DAY

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

COHEN
(to class)
Today we are going to work on cubism.
(smiling at Michael)
This will be right up your alley, Michael, with its fractured, angular shapes--

MICHAEL
(interrupting)
Actually, I was hoping you could help me with drawing portraits.

Mr. Cohen stares at Michael for a moment.

COHEN
Are you just naturally contrary or do you have to work at it?

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

FLASHBACK TO PRESENT

MARIA
(turning serious)
Do you think this obsession with getting the sketch right is Michael's way of dealing with seeing Hank again? That must have been hard. Has he said anything to you?

MAX
(shaking his head)
No, but you know Michael, he doesn't like to talk about his feelings.

Liz and Maria nod knowingly.

LIZ
(looking towards Alex and Michael)
I'm glad he's at least had something to occupy his mind and that Alex has been there to help him. Sometimes just having someone around--

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

ALEX
That's him! It's perfect!
(he high fives Michael)
Score!

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

LIZ MAX
(looking at Max) (looking at Liz)
Max!? Him!?

Cut to commercial.

END OF TEASER




ACT I


  5 INT. MICHAEL GUERIN'S APARTMENT - LATER

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

ISABEL
He's stalking us. He's probably been watching us all this time ...

MAX
(trying to interrupt)
We don't know that for sure.

ISABEL (cont'd)
And how will we know if we see him again? Can he only shapeshift into Hank and this ... Desert Man, or could he be ... anyone?

MAX
We don't even know if shapeshifting is poss--

MICHAEL
I think we can sense him.

ISABEL
You mean ...

MICHAEL
Yeah, like we sensed each other when we emerged from the pods. I felt something when "Hank" came into Valenti's office ...

  6 FLASHBACK - INT. ROSWELL SHERIFF DEPT. - INTERROGATION ROOM - NIGHT

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

HANK
(to Valenti)
If the boy's in trouble again you can't dump him on me. You said I'm out of it, Sheriff.

VALENTI
(to Green)
Deputy Green, meet Hank Whitmore.

Michael is staring at Hank warily.

GREEN
(surprised)
Really?
(pause; suspicious)
What a coincidence that you just happened to stop by the Sheriff's Station today.

HANK
(angry)
Coincidence has nothing to do with it. I may not live here anymore but I still have friends. They told me some guy named Trilling was asking questions about me, on behalf of the Roswell Sheriff's Department. I haven't broken any lawsó

OWEN
(under his breath)
Lately.

HANK
(ignoring Owen)
And I don't want you implying to my friends that I have.

OWEN
We're sorry, Sir, if we besmirched your reputation.

GREEN
Yes, we were concerned for your safety. Mr. Trilling was under the impression that you were missing and may have come to harm.

HANK
(sarcastically)
I'm so touched that someone I don't even know was so "concerned" for me.
(to Valenti)
Can I go now?

VALENTI
Sure, Hank. Sorry for the misunderstanding.

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

FLASHBACK TO PRESENT

MICHAEL (cont'd)
... it was a sense of familiarity but not because I knew Hank.
(angry at himself he starts pacing)
Man! How could I have missed that. And he was there at the shooting range too.
(at Isabel's and Max's surprised looks)
When I was looking for the bullet ... I felt ... something and thought maybe someone was watching me. I looked around but I couldn't see anyone. I shrugged it off as nerves ... but now that I think about it, it was the same sensation. Damn!

ISABEL
(nervous)
So we are being followed. Or at least you two are ... I don't remember "sensing" anyone. Max, when you met him in the desert, did you feel anything?

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

MAX
Maybe ... I'm not sure ... I was experiencing so many feelings at that time ... between finding the orb, and the heightened emotions Liz and I--

MICHAEL
(with a sense of urgency)
You have to break it off with Liz.
(to Isabel)
And you should keep your distance with Alex.

ISABEL
What!? Whatever for?

MICHAEL
For the same reason I didn't want to include them in this meeting ... it's getting too dangerous. We can't just act like everything is normal, because it isn't.

MAX
Are we really sure about that? That things aren't normal ... or at least our version of normal? That things are more dangerous than they were before?

MICHAEL
(incredulous)
We have an alien stalking us!

MAX
Do we? We don't even know for sure this "Desert Man" is an alien. Maybe our memories of what we "sensed" are tricking us because we want this to be alien- related. I think we need to gather more information, examine all the facts, before we start deciding we have shapeshifting alien killers living among us.

MICHAEL
(sarcastically)
And if there are shapeshifting alien killers among us, do you think they are just gonna patiently wait for us to confirm their existence?

ISABEL
Yeah, Max. How can you be so calm about this?

MAX
I'm not calm, I'm being cautious, not jumping to conclusions. Think about it. If he's dangerous why didn't he take advantage of Liz and me when we were sleeping? He didn't even take the orb from us. Even if he is an alien, he just seems to be watching us, and helping us, for now, so I don't think there is any reason to be afraid.

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

MICHAEL
If he's not dangerous then what did he do to Hank?

MAX
We don't know that he did anything to Hank--
(puts up his hand to forestall Michael interrupting)
But I'll agree it's a possibility. We definitely should look into this, investigate who this person might be and what really happened to Hank. I also think we should be cautious and more aware of our surroundings, who's there, what we are seeing, and especially what we are feeling. However, I don't see any reason to change our routines or avoid seeing Liz, Alex, and Maria.

ISABEL
I agree with Max.

MICHAEL
(sarcastically)
Thanks for jumping ship; I was on your side. You're the one that felt like we were being stalked.

ISABEL
What Max says makes sense. We have enough things to worry about without creating more by jumping to conclusions. So far this Desert Man hasn't really done anything that we know of to make us believe he's dangerous.

MAX
Let's meet with Liz, Maria, and Alex tomorrow to discuss what to do.

MICHAEL
I still don't think we should involve them. It isn't safe. What if ...
(it's difficult for him to admit this possibility)
What if Nasedo is a killer? What if he killed Hank?
(beat; with concern)
Aren't you afraid she'll get hurt? That just being with you puts her in danger?

Max knows he's referring to Liz now.

MAX
Yes, I've thought of that a lot. Then I realized that because she is already involved, she's already in danger.
(beat)
We both are stronger as individuals when we are together than when we are apart, so I feel that makes her better able to protect herself, but she is also safer when we are together because I might be able to protect her with my powers. That's true for Maria and Alex too. The bottom line is, they really are safer if we are with them.

MICHAEL
Maybe, but you two are good at using your powers. I would probably fail when I needed to succeed the most--when Maria would need me the most.
(turns away)
I couldn't live with that.

Cut to commercial:

END OF ACT I




ACT II


  7 INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - DAY

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

KYLE
(resigned)
So I guess I'll be seeing you and your mom for dinner tomorrow night.

MARIA
(slumps in defeat)
What is wrong with our parents?

KYLE
(exasperated)
I don't know. Maybe it's a new fad.

MARIA
The first DeLuca-Valenti family get-together.
(beat)
There's got to be a way out.

KYLE
I've tried. No luck.

Liz joins them.

MARIA
I've explained to my mother that dating is a solo activity. You don't do it with other people.

LIZ
Unless it's a double date.

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

KYLE
(to Maria)
No offense.

MARIA
None taken.

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

LIZ
Wasn't that dinner supposed to take place a few nights ago?

MARIA
Ohhh yeah, and my mother was not happy when Valenti had to reschedule because of work. She kept grumbling something about the three-strikes law. I thought that would be my chance to convince her to cancel it, but ...
(sighs)
no luck.

LIZ
(sympathetically)
Sorry.
(beat)
So, have you seen Max?

MARIA
(teasing)
Liz, a little time apart can be good for a relationship. Start with five minutes and work your way up to say, an hour.

LIZ
Very funny. I just wanted to know if he told you yet that we need to meet at lunch to discuss the whole "Desert Man" situation.

MARIA
(with a touch of sarcasm)
You mean we are being included this time? Michael won't object?

LIZ
Yeah, that was kind of weird. Maybe I can get Max to tell me what that was about.

Cut to:

  8 INT. ALEX WHITMAN'S BEDROOM - DAY

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

MAX (VO)
We need to find out whatever we can about Hank and his whereabouts and also this Desert Man. Alex can use his computer expertise to start that search.

Cut to:

  9 EXT. DESERT HIGHWAY - CONTINUOUS

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

MAX (VO) (cont'd)

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

Cut to:

  10 INT. ISABEL EVANS'S BEDROOM - CONTINUOUS

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

MAX (VO) (cont'd)
Isabel, you try using the sketch to dreamwalk this guy to find out who he is. Maria, I'm counting on you to break her from the dreamwalk if anything goes wrong.

  11 FLASHBACK - INT. WEST ROSWELL HIGH SCHOOL - EMPTY CLASSROOM - NOON

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

MARIA
Don't worry, Max, I won't let anything happen to her.

ISABEL
Why do I need a babysitter?

MARIA
Spotter.

ISABEL
Fine, spotter! What makes you think something might go wrong; nothing ever has before.

ALEX
We're dealing with an unknown quantity here.

LIZ
That's right. This guy could be an alien with powers you've never even heard of, let alone know how to defend against, and he may not want you walking around in his mind.

ISABEL
(resignedly)
Fine. What are you and Max going to be doing?

MAX
Liz and I can take the orb back out to the radio tower where we found it; try to see if we can send another signal. If this guy is Nasedo and he is in the area, maybe he'll realize we want to get in touch with him.

FLASHBACK TO PRESENT

  12 EXT. HIGHWAY 42 - OLD RADIO TOWER - DUSK

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

LIZ
What do you suppose this orb is really for?

MAX
I'm guessing it's some sort of communication device.

They stare at the orb; nothing happens.

MAX (cont'd)
Or at least I hope so.

Cut to:

  13 INT. RIVER DOG'S LIVING ROOM - CONTINUOUS

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

RIVER DOG
I'm not sure how much help I can be, Michael. I've told you most of what I know about Nasedo already.

MICHAEL
(holding sketch pad)
You've never told us what he looks like. I was hoping you could describe him to me so I can sketch him.

RIVER DOG
I'd be happy to. Let's see now ...
(mulls it over)
He was about your height, but with a smaller frame. He had brown hair, brown eyes ...

Michael writes down the statistics River Dog is giving him.

MICHAEL
(interrupting)
What about the shape of his face, eyes, mouth? Can you describe those?

RIVER DOG
Hmmm ... I'd say his face was sort of square, with a strong jaw ... his eyes were big ... he had an aquiline nose ... a prominent brow ... he was clean shaven with a cleft chin ...

Michael quickly sketches as River Dog speaks.

Cut to:

  14 INT. ISABEL EVANS'S BEDROOM - SAME

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

MARIA
So you're sure Michael is OK? He's not wiggin' out about seeing Hank again, let alone what might have happened to him?

ISABEL
He seems fine to me. If he wasn't I wouldn't let him babysit the Peterson kids.

MARIA
(eyes widen in shock)
Excuse me!? Did you say Michael was babysitting!?

ISABEL
Yeah, he's doing it as a favor to me.

MARIA
(cracks up laughing, then in between catching her breath)
I'm sorry ... the thought of Michael with little children ... but is that really fair to the kids?

ISABEL
I doubt they'll even be up.
(smiling as a thought occurs to her)
But if he does need help that would be a perfect way for you two to get back together.

MARIA
How?

ISABEL
Because he would have to call someone for help. All we have to do is make sure you're the only one available tomorrow night.

MARIA
I like the way you think.
(confused)
Wait a minute, why are you trying to help? I thought Michael and I annoyed you when we were together.

ISABEL
I once thought that there was nothing worse than being alone with you and Michael. Then the two of you broke up and I found out how wrong I was.

Maria nods knowingly, then a thought comes to her.

MARIA
Oh, shoot! Tomorrow is the infamous DeLuca-Valenti family get-together.

ISABEL
Do you have to spend the whole evening there or just dinner?

MARIA
Just dinner.

ISABEL
Eat fast!

Cut to:

  15 INT. RIVER DOG'S LIVING ROOM - CONTINUOUS

Michael is showing River Dog his rough sketch.

RIVER DOG
It's not bad; needs a little refinement, but it's a general likeness. Do you recognize him?

MICHAEL
No, it's no one I've ever seen, but then he won't necessarily look the same now.

RIVER DOG
Yes, the ravages of time will probably have taken their toll.

MICHAEL
No, not just older; I mean totally different.
(beat)
Did he ... did he ever ... shapeshift in front of you?

RIVER DOG
Shapeshift?

MICHAEL
Change his form. Did he ever show you what he really looked like? His non-human self?

RIVER DOG
No. He never showed me his true self ... in more ways than one.

MICHAEL
Did he ever say anything about his people to make you think they could shapeshift?

RIVER DOG
(thinks for a moment)
Sorry, no.
(beat)
What makes you think he has a different form than the one I saw? Can you shapeshift?

MICHAEL
No ... Actually, I don't know for sure. We were hoping you would know.

River Dog nods in understanding.

Cut to:

  16 INT. ALEX WHITMAN'S BEDROOM - SAME

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

FEMALE VOICE ON PHONE
I haven't seen Hank since my sister's funeral nine years ago. Why all this sudden interest in him anyway? What's he done now?

ALEX
Nothing, I was just looking for him.

FEMALE VOICE ON PHONE
Obviously you people don't know him very well.

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

Cut to:

  17 EXT. HIGHWAY 42 - OLD RADIO TOWER - CONTINUOUS

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

MAX
(picks up the orb)
Maybe if I hold it.

Still nothing.

LIZ
Try concentrating on sending a signal.

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

MAX
(laughs nervously)
We're not nervous ... much.

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

Cut to:

  18 INT. RIVER DOG'S LIVING ROOM - SAME

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

MICHAEL
(hesitantly)
Do you ... do you think Nasedo is dangerous?

RIVER DOG
He was never threatening to me, but ...

MICHAEL
(nodding)
Did you ever ask him about Atherton's death?

RIVER DOG
I never had the chance. He took off as soon as I reached him, and I never saw him again. He didn't even come back for his healing stones.

MICHAEL
But if he had killed Atherton deliberately, and he knew you had witnessed it, wouldn't he be better off if you were dead?

RIVER DOG
True.

MICHAEL
So, since he didn't kill you too, maybe he ran off because he was scared, not because he was guilty. Maybe Atherton had a heart attack, and he was just trying to heal him.

RIVER DOG
Possibly.

MICHAEL
Or maybe I'm just making up excuses for him because I don't want to believe he's a killer.

RIVER DOG
Also possible.

MICHAEL
I mean, if Nasedo is a killer, what does that make me?

RIVER DOG
You're not Nasedo. You are your own person, regardless of where you come from. You can choose who you want to be.

MICHAEL
You really think that's true?

RIVER DOG
Yes, I do.

Cut to:

  19 INT. ALEX WHITMAN'S BEDROOM - CONTINUOUS

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

ALEX (VO)
Do you think maybe we should set up a decoy?

FLASHBACK - INT. WEST ROSWELL EMPTY CLASSROOM - NOON

Continuation of classroom meeting.

MAX
Decoy?

ALEX
Yeah, just in case you "signal" the wrong parties. I've got some lighting equipment that I can rig up to beam spotlights in the sky, so yours will not be the only one people might see.

ISABEL
Good idea. It will be less suspicious that way.

ALEX
(to Michael)
Maybe you can help me when you finish with River Dog.

FLASHBACK TO PRESENT

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

Cut to:

  20 EXT. HIGHWAY 42 - OLD RADIO TOWER - SAME

Same positions as before.

MAX
So ... what just happened there?

LIZ
(regaining her composure)
I'm not sure. Try tossing it in the air again and catching it.

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

MAX
You try.

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

MAX
Try concentrating.

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

LIZ
Apparently it needs both of us.

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

Cut to:

  21 INT. DARK ENCLOSURE - CONTINUOUS

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

Cut to:

  22 INT. RIVER DOG'S LIVING ROOM - SAME

MICHAEL
Thanks for letting me come by.

Michael heads for the door.

RIVER DOG
Michael, wait. I'd like you to meet me at the cave Friday night. Can you do that?

MICHAEL
The cave? Why the cave?

RIVER DOG
I'll explain when you get there. Can you come?

MICHAEL
Yeah, I guess so.

RIVER DOG
Good, 'till then.

Cut to:

  23 INT. ISABEL EVANS'S BEDROOM - SAME

Same scene as before.

MARIA
You ready?

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

MARIA
What's wrong?

ISABEL
Nothing ... nothing. I guess what everyone said about him maybe being more powerful than me made me a little nervous, but I'm OK now.

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

Cut to:

  24 EXT. WHITMAN BACKYARD - CONTINUOUS

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

ALEX
Was that a motorcycle I heard?

MICHAEL
Yeah. It's a piece of junk I found a few months ago and finally managed to get running.

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

MICHAEL
No, the ... normal way.
(glancing at all the equipment)
So what are we doing with all this?

ALEX
(pointing to the symbol)
We're gonna try to compete with that.

Cut to:

  25 INT. ISABEL EVANS'S BEDROOM - CONTINUOUS

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

MARIA
(concerned)
Are you OK? Did you see anything? How come you quit so quickly?

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

ISABEL
Yes. No. Because I had no choice.
(struggles to explain the sensation she felt)
It ... it was like .. like I couldn't get a grip on his consciousness. It was so tantalizingly close, but ... nothing.

MARIA
Do you want to try again?

ISABEL
(nodding)
Yeah, but I need a minute to regroup.

Cut to:

  26 EXT. WHITMAN BACKYARD - CONTINUOUS

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

MICHAEL
What do you normally use this lighting equipment for?

ALEX
My band. Sometimes we do light shows during our performances.

MICHAEL
Cool. This stuff seems kind of expensive though. How could you afford it? Does your band make that much money?

ALEX
No. I built it myself from parts I scavenged.

MICHAEL
It figures.

ALEX
Huh?

MICHAEL
(with a slight touch of envy)
Is there anything you're not good at? I mean you get all A's in school, you're a wizard with computers, you have your own band ...

ALEX
(surprised)
Whoa! You're not telling me that you are envious of me!? A guy with your powers? A guy who can quote James Joyce's Ulysses !?

MICHAEL
I'm not envious ... it's just-- Wait a minute. How did you know I read Ulysses?

ALEX
Maria.

MICHAEL
What else did she say about me?

ALEX
Sorry pal, I'm not going down that road. Not if I want to live.

Cut to:

  27 INT. ISABEL EVANS'S BEDROOM - CONTINUOUS

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

ISABEL
Do you think this Desert Man did something to Hank?

MARIA
(a little uncomfortable at the thought)
You mean like, did he kill him?

ISABEL
(nodding)
Yeah. Do you think he did?

MARIA
(observing Isabel's nervousness)
Maybe ... Are you still concerned about what might happen to you if you get in? That he might be dangerous?

ISABEL
It's not that I'm afraid to go in, it's just, I don't know, I guess even though we've discussed the possibility that Nasedo might have killed in the past deep down I didn't want it to be true.

MARIA
And if you get in ...

ISABEL
I might discover otherwise.
(sighs)
I guess if we're going to dig up our past we have to accept whatever skeletons we might find.
(walking back to the bed and sitting)
So, let's get digging.

Cut to:

  28 EXT. WHITMAN BACKYARD - CONTINUOUS

Alex and Michael are working on the finishing touches.

MICHAEL
Did you find out anything during your research on Hank and this Desert Man?

ALEX
Yeah, something that shocked the hell out of me--that Hank was married! It's so hard to picture someone saying "I do," to him.

MICHAEL
Susan? She wasn't much of a catch herself, although she was better than Hank. Not really maternal though ... anyway she died a year after I was left with them.
(beat)
I guess I should have appreciated her more though because Hank got a helluva lot worse once she was gone.

ALEX
How do you think you'll feel if it turns out this Desert Man killed Hank?

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

MICHAEL
It's not that I have any sympathy for that bastard, but ...

ALEX
But you don't want anyone to get hurt, especially if it's because of ... who you are.

MICHAEL
Yeah.

Alex nods. They have finished setting up the equipment.

ALEX
(indicating the switch)
It's show time; do you want to do the honors?

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

MICHAEL
(impressed)
Nice.

Cut to:

  29 EXT. HIGHWAY 42 - OLD RADIO TOWER - CONTINUOUS

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

LIZ
This is exciting.

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

MAX
(teasing)
What, the snake or the signal?

LIZ
Both, but I also meant what could come of this. I mean, if we contact this Desert Man and he is Nasedo you may finally learn where you're from and who you are; after all this time.

MAX
(wistfully)
Yeah ... if we contact him.

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

Cut to commercial:

END OF ACT II




ACT III


  30 INT. ROSWELL SHERIFF'S DEPT. - VALENTI'S OFFICE - MORNING

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

OWEN
The bullet's just too distorted to match it to anything. Looks like Beavis and Butthead are gonna get away with it after all.

VALENTI
(under his breath)
They're not the only ones.

OWEN
Huh?

VALENTI
(starts to say something then changes his mind)
Uh ... nothing.

OWEN
(suspicious, fishing for information)
Mr. Parker was a little curious as to why we needed his fingerprints ... why we would be looking for fingerprints on a spent bullet.

VALENTI
(uneasy)
What did you tell him?

OWEN
That it was normal police procedure.
(beat)
Jim, do you suspect that this bullet was planted?

VALENTI
(slight hesitation)
Yes. But as usual, I can't prove a thing. The bullet is the right caliber, based on witnesses' descriptions of the gun, there was a ricochet mark on the fan, and there are no incriminating fingerprints. It just all seems too pat ...
(contemplatively)
Just like Hank showing up at exactly the right moment ... an awful lot of coincidences happen around these kids ...

OWEN
(curious)
Why are you still investigating these kids?

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

HANSON
Sorry to interrupt, Sir, but we got at least a dozen more calls about those strange lights in the sky last night. And I'm not talking just the fanatics like Milton Ross and Larry Trilling--normal people too. I really think you ought to let me investigate this further.

VALENTI
Fine, Hanson. Go see what you can find out about the reports.

HANSON
Thank you, Sir.

Hanson exits, shutting the door behind him.

VALENTI
Do you think there is anything to this?

OWEN
It's got hoax written all over it, but ...

VALENTI
See what you can find out.

Cut to:

  31 INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - SAME

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

ISABEL
(to Max)
I was thinking maybe you and I could try together tonight when you get back from Frazier Woods and I get back from the concert. We might have better luck getting in if there's two of us.

MAX
So you think you weren't strong enough alone?

ISABEL
I'm not sure. Maybe the picture didn't work because it's not a true representation of him. You know, if he's not ... normal.
(beat)
I just think we might as well try all avenues. We'll probably get home around the same time--

MICHAEL
(interrupting)
I can't believe you're still going to that concert with all we have to do--

ISABEL
(indignant)
Are you saying I'm not doing my part?

MICHAEL
No, it's just ...

ISABEL
(realization dawns)
It's just that you don't want to babysit the Peterson kids tonight.

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

MAX
(incredulous)
You got Michael to agree to babysit?
(impressed)
You're good!

ISABEL
(smiling at the praise, whispers back)
I know.

MICHAEL
It's not fair that you're still holding me to that.

ISABEL
And just why isn't it fair?

MICHAEL
Because I'm not taking Maria to the dance, so I don't need the dance lessons that started this deal.

ISABEL
That's not my problem. A deal's a deal.

MAX
(as an aside to Isabel; teasing)
Oh, that's cold!

MICHAEL
(to Isabel, with no enthusiasm)
Right.

He walks off ahead of them, not happy.

ISABEL
By the way, if he calls you tonight asking for help, don't answer your phone.

On Max's puzzled look we cut to:

  32 INT. PETERSON HOUSE - KITCHEN - NIGHT

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

MICHAEL
You think that's funny don't you?

Lisa giggles.

MICHAEL
Things that happen in threes are funny. Trust me, this stopped being funny after the third time.

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

MICHAEL
(calling out)
Joey! Are you all right!? What are you doing?

JOEY (VO)
Where's Kimbie!? I can't find Kimbie!

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

MICHAEL
What the--. What are you doing!?

JOEY
(innocently)
Looking for Kimbie.

Michael picks up the spent toothpaste tube.

MICHAEL
And you thought Kimbie would be in here?

JOEY
He could be anywhere.

MICHAEL
Who, or what, is this Kimbie?

JOEY
He's Kimbie!

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

MICHAEL
(under his breath)
Isabel, you are so gonna pay for this.

Cut to:

  33 INT. LAS CRUCES UNIVERSITY CONCERT HALL - CONTINUOUS

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

Cut to:

  34 INT. VALENTI DINING ROOM - NIGHT

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

KYLE
(surprised)
Cologne?

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

VALENTI
Too much?

KYLE
No. I'm just not used to you wearing it.
(beat, teasing)
When was the last time?

VALENTI
Never mind.

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

VALENTI
(calling out to Kyle)
Potatoes are done. Did you turn the chicken on the barbecue?

KYLE (VO)
(exasperated)
Yes, I turned the chicken.

VALENTI
How about the salad? Did you toss the salad?

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

KYLE
Yes, I tossed the salad.

VALENTI
Good, then we should be just about-- The bathroom! Oh my God, the bathroom. I didn't--

KYLE
(interrupting)
Relax! I cleaned the bathroom while you were getting dressed.
(pause)
You know, I don't know why I'm doing all the work when these are your guests.

VALENTI
They are our guests, and I couldn't help it if I had to work late; it's not like I can schedule the three-car pile ups.
(beat)
I just want everything to go well; I don't want to scare her off on her first visit.

KYLE
Don't you mean their first visit?

VALENTI
Huh? Oh! Right ... their first visit. Anyway, I really appreciate everything you've done, and I will make it up to you.

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

VALENTI
They're here.
(turns to Kyle, who is still scowling)
Smile! This isn't Chinese water torture.

Valenti goes to answer the door.

KYLE
(mumbling to himself)
Maybe not for you.

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

VALENTI
Amy! Welcome!

AMY
(smiling)
Hi, Jim!
(noticing Kyle behind Valenti)
Hi, Kyle.

KYLE
Mrs. DeLuca.

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

AMY
I brought a coconut cream pie. I remembered it was your favorite.

VALENTI
(with a twinkle in his eye)
Anything you bake is my favorite.

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

VALENTI (cont'd)
It's good to see you, Maria.

MARIA
(unenthusiastically)
Thanks ... Sheriff.

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

MARIA (cont'd)
Hey. This one's for you--Dune's Spiced Apple. You said that was your favorite, right?

KYLE
(taking pie; smiling for the first time)
Yeah, right. Thanks.

VALENTI
(takes pie from Kyle)
Kyle, take their coats. Can I get you something to drink? I'm serving a Gewurztraminer with dinner.

AMY
(impressed)
Gewurztraminer, huh? I have to admit, I wouldn't have taken you for a wine connoisseur.

VALENTI
Am I that easy to read?

AMY
No, I have a feeling you're full of surprises.

VALENTI
Well, you're right about that ... You're also right about the wine. I asked Mike at Alien Spirits to recommend something.

AMY
(laughs)
A Gewurz sounds perfect.

VALENTI
Maria?

MARIA
A Gewurz sounds great.

AMY
She'll have a Coke.

MARIA
I'll have a Coke.

VALENTI
Kyle, would you like a Coke?

KYLE
Sure, why not.

VALENTI
Fine, two Gewurztraminers and two Cokes coming up.

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

Cut to:

  35 INT. PETERSON HOUSE - KITCHEN - CONTINUOUS

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

Cut to:

  36 EXT. WHITMAN BACKYARD - CONTINUOUS

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

ALEX
(as he puts his phone back in his pocket)
Sorry, Michael.

Cut to:

  37 INT. PETERSON HOUSE - KITCHEN - CONTINUOUS

Michael is still on the phone.

ALEX (VO)
I'm sorry I can't take your call--

Michael slams down the receiver.

MICHAEL
(to Lisa)
Max, Liz, and Alex are all not answering their cell phones. I smell a conspiracy, don't you?

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

MICHAEL
(in receiver)
Maria?

Cut to:

  38 INT. LAS CRUCES UNIVERSITY CONCERT HALL - CONTINUOUS

Isabel shows Vanessa and Elana a new dance maneuver.

ELANA
(coyly)
You planning to teach Alex this move at the Spring Blastoff?

ISABEL
(surprised)
Are you trying to tell me Alex's band didn't get the gig?

VANESSA
You can't say anything because the official announcement won't be made until tomorrow, but yes, "The Whits" won't be playing at the dance.

ISABEL
What happened? I thought you said they were a shoo-in?

Elana and Vanessa smile conspiratorially.

ELANA
They were until we voted with Sandy for her cousin's band.

ISABEL
Why would you do that?

VANESSA
(perplexed)
We thought you wanted us to.

ISABEL
I never asked you to do that!

ELANA
No, but you told us you wanted to go to the dance with Alex and you wouldn't have been able to if his band got the gig.

VANESSA
We thought you would be happy, and thank us.

ISABEL
(indignant)
Sorry to disappoint you but I'm not gonna thank you. I'm not a willing partner in your little conspiracy. You need to fix this.

ELANA
But then we'd have to admit we threw our votes.

VANESSA
Yeah, and that's not gonna happen.

ISABEL
But that's the right thing to do.

ELANA
No, the right thing is for you to go to the dance with Alex.

VANESSA
Yeah, chill out, Isabel and just enjoy the opportunity ... I'm sure Alex will.

Cut to:

  39 INT. PETERSON HOUSE - BATHROOM - LATER

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

MICHAEL
(sotto voice)
Maria, where are you?

Cut to:

  40 INT. VALENTI DINING ROOM - CONTINUOUS

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

AMY
(filling space)
This meal is great, Jim. Thank you so much for inviting us.
(to Maria)
Isn't this great, Maria?

MARIA
(mouth full)
Yeah ... gweat.

VALENTI
(pleased that Amy is pleased)
Thanks!

AMY
And the wine is wonderful. Be sure to thank Mike for his suggestion.

VALENTI
I will.

There is another lull to the conversation.

KYLE
(filling space)
So, Mrs. DeLuca, how long have you known my dad?

AMY
Oh, gee, it seems like forever. I knew of your dad long before I met him, partly because he was a town deputy.

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

AMY (cont'd)
I even had a crush on him when I was a teenager. He looked so handsome in his uniform.

Valenti is pleased and surprised.

KYLE
So what can you tell me about my father's youth?
(turning to his father)
How about it, Dad, can she reveal any skeletons in your past?

VALENTI
(joking)
Me? Nah! I led a very clean cut life.

AMY
(laughs)
Oh right, Jim. Tell us another one.
(to Kyle)
Your father had a bit of a devilish streak in him when he was your age.

VALENTI
How would you know? You were just a child when I was Kyle's age.

AMY
(mischievously)
I had my sources. Does the name Elaine Spencer ring a bell?

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

VALENTI
Uh oh.

AMY
(still looking at Valenti, smiling)
Elaine's my older cousin and she told me quite a few stories of when you two were dating in high school.

VALENTI
I deny everything. It won't hold up in court ... it's all hearsay!

Amy laughs; the kids start to protest.

KYLE
(to Valenti)
Oh no, you're not getting off that easily.
(to Amy)
Come on, spill.

VALENTI
Don't forget, Amy. As a deputy, it was my duty to keep an eye on all the teenagers. I have a few stories of my own to tell.

MARIA
Really!? Do tell!

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

VALENTI
(smiles at Amy)
The machine will get it.

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

VALENTI (VO)
Hi, you've reached Jim and Kyle. Sorry we weren't able to take your call. Please leave a message at the beep.

The machine beeps.

HANSON (VO)
Sheriff, I just thought you might want to know that the "Bat Signals" are back. Locations are slightly different: same residential neighborhood as last night, but the other one is in Frazier Woods this time, not the desert highway. And when you come in tomorrow I think you should speak to Deputy Green about proper protocol. This was my case, but he went out on the call while I was in the men's room.

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

Cut to commercial:

END OF ACT III




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

  1 INT. MESALIKO RESERVATION CAVE - NIGHT (From Roswell Episode 107: River Dog)

Max and Liz are talking to River Dog.

MAX
Do you know where I can find him?

RIVER DOG
I haven't seen him for 40 years. Besides me, the only man he trusted was Atherton. The man gave Atherton his necklace, the one you had.

MAX
What happened to him?

RIVER DOG
Atherton was murdered.

LIZ
Who killed him?

RIVER DOG
The man killed him.

MAX
Maybe he was defending himself. Atherton was some kind of UFO nut. He could have been trying to expose him, hurt him.

RIVER DOG
I was too far away to see what happened, but when I reached them, Atherton was dead.

Cut to:

  2 INT. ROSWELL SHERIFF'S DEPT. - VALENTI'S OFFICE - DAY (From Roswell Episode 115: Independence Day)

Hank walks into the Sheriff's office.

HANK
(laughs)
I heard you put out an APB.

SHERIFF
You heard right.

HANK
(laughs)
Here I am.

SHERIFF
You wanna tell me about the gunshots?

HANK
Oh, uh, well...never clean a gun while you've been drinking. Anyway, got an offer from a plant over in Las Cruces. My lease is up next week, so ... I'm hitchin' up the trailer and I'm gone. Thing is, I'm goin' alone ... so if I need to sign some papers about that boy, or anything ...

SHERIFF
Won't be necessary. And Hank ... make it soon.

HANK
Oh don't worry, Sheriff. I'm already gone.

Cut to:

  3 EXT. WOODED AREA - NIGHT (From Roswell Episode 115: Independence Day)

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

Cut to:

  4 EXT. HIGHWAY 42 - OLD RADIO TOWER - MORNING (From Roswell Episode 116: Sexual Healing)

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

MAN
This is private property. You two better get home.

Cut to:

  5 INT. ALIEN ESSENCE - DAY (From RWMHB Episode 119: The Witness)

Amy is behind the counter, Jim in front.

VALENTI
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.

Cut to:

  6 EXT. WEST ROSWELL HIGH SCHOOL QUAD - NOON (From RWMHB Episode 119: The Witness)

Isabel and Michael are sitting at a table.

MICHAEL
It's about the dance ...

ISABEL
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.

Cut to:

  7 INT. ALEX WHITMAN'S BEDROOM - NIGHT (From RWMHB Episode 119: The Witness)

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:

  8 INT. DE LUCA LIVING ROOM - NIGHT (From RWMHB Episode 119: The Witness)

MICHAEL
(to Maria)
I don't think we should see each other anymore.

  9 INT. SCOTTY'S BAR & GRILL - SAME (From RWMHB Episode 120: Limited Options)

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

GREEN
What did you find out?

LARRY
I checked the plant at Las Cruces like you suggested--Hank Whitmore never worked for them. I've been interviewing his friends and neighbors and no one has seen or heard from him since he supposedly left for Las Cruces.

GREEN
And I checked for credit card activity--nothing.

LARRY
It's as if he dropped off the face of the Earth.
(beat)
You really should talk to Michael Guerin. Hank's neighbor from the trailer park, Nellie Smith, told me that the night before Hank left, he and Guerin had a major blow out.

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

GREEN
Thanks for your help.

LARRY
(smiling)
Any time, Deputy.

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

Cut to:

  10 EXT. "ASTEROID FIELD" OUTDOOR SHOOTING RANGE - MIDNIGHT (From RWMHB Episode 120: Limited Options)

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

Cut to:

  11 EXT. MICHAEL'S APARTMENT BUILDING - STREET - NIGHT (From RWMHB Episode 120: Limited Options)

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

GREEN
Michael Guerin?

MICHAEL
Yeah.

GREEN
A citizen has voiced concern about the whereabouts of Hank Whitmore. Would you mind accompanying me to the station to answer some questions?

Cut to:

  12 INT. JETTA - LATER (From RWMHB Episode 120: Limited Options)

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

ISABEL
I thought you said Hank was missing.

MARIA
The deputy said that.

ISABEL
(bewildered, pointing)
That's Hank.

Cut to:

  13 INT. CRASHDOWN - KITCHEN - LATER (From RWMHB Episode 120: Limited Options)

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

JEFF
I think it's a bullet.

LIZ
You mean ...?

JEFF
Yes, the bullet. The one they never found. It must have been in there all this time.

NANCY
But how did it end up in the drain?

JEFF
I haven't a clue.

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

JEFF (cont'd)
(thinking as he speaks)
Well, the guy with the gun was in the dining area over there ... if it went through the wall we would have seen the hole so the bullet probably went through this pass-through window ... but it would need the proper angle to make it to the sink, which means it must have ricocheted off something ...
(mulling)
The ceiling fan! It must have hit the fan and deflected into the sink and down the drain.
(sees Nancy's skeptical look and shrugs)
It's a stretch but I don't see any other way to explain it. And now I guess we'll have to explain it to the Sheriff's Department.

Cut to:

  14 EXT. SCOTTY'S BAR AND GRILL - SAME (From RWMHB Episode 120: Limited Options)

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



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