ROSWELL: WHAT MIGHT HAVE BEEN - "Breathing Lessons" - 01/00/05

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

  1 INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - DAY (From Roswell Episode 109: Heat Wave)

Liz comes out of a classroom and runs into Kyle and Vicky, who are holding hands. There is a slight awkwardness between Liz and Kyle.

KYLE
Liz.

LIZ
Hi, Kyle.

KYLE
Hi. You know Vicky Delaney.

LIZ
Oh, sure, um ... Hi, Vicky. How's it going?

VICKY
Really good actually. Um, hey, Kyle and I are going to this thing on Friday night. You should come.

KYLE
No no, see, that's not Liz's kind of--

LIZ
A party?

VICKY
Yeah, it's at the old soap factory. It should be pretty wild.

LIZ
Is that even legal?

KYLE
See? I told you it wasn't your kind of thing. So--

LIZ
You know, um, a party on Friday really sounds great. Um, so maybe I'll just see you two there.

VICKY
See? I told you she'd be cool.

LIZ
Later.

KYLE
Right.

Cut to:

  2 INT. ISABEL EVANS'S BEDROOM - NIGHT (From Roswell Episode 109: Heat Wave)

Isabel is lying supine on her bed; her knees are bent, propping up the West Roswell High School yearbook she is holding. She touches a picture of Alex in the yearbook and closes her eyes, concentrating.

Cut to:

  3 INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - ALEX'S DREAM - TIME INDETERMINATE

Dream Alex, dressed for school, is walking down the hallway among other dream students. He opens a classroom door, enters, and shuts the door. Isabel is in the same red silk pajamas she was wearing when she began the dreamwalk. She comes down the same hallway, following Dream Alex. None of the other dream students notice her. She opens the classroom door.

Cut to:

  4 INT. WEST ROSWELL HIGH SCHOOL - CLASSROOM - ALEX'S DREAM - CONTINUOUS

The classroom is empty except for Dream Alex, who is now dressed in a tux. He is seated at a table, which is situated behind the student desks and chairs, and is covered with a linen tablecloth, crystal glasses, and a candle. Spread around the room there are fake trees with little white lights and additional candles on stands, creating a ballroom atmosphere. He does not see Isabel enter and sit on the teacher's desk. She is still in her pajamas. Dream Alex stands up and walks to a table behind him that has a boombox on it. He reaches into his inside jacket pocket and removes a disk. Dream Monique Powell, lead singer of Save Ferris, suddenly appears and takes the disk from him.

DREAM MONIQUE
We'll take it from here.

The camera follows Dream Monique as she walks towards her band and we see Alex's dream version of Isabel. She is wearing a red cocktail style dress with a black border on the top, black spaghetti straps, gold and black thread print woven through it on the front and back, and a slit in the back. Her hair is down. She looks stunning.

DREAM ISABEL
Hello, Alex.

Dream Alex turns when he hears her voice.

DREAM ALEX
(smiling)
Hello.

DREAM ISABEL
Thank you for inviting me.

The dream band has begun to play "Let Me In". Dream Alex walks towards Dream Isabel and extends his hand palm up as if inviting her to dance.

DREAM ALEX
My pleasure.

The camera pulls back and we see that behind the table Dream Alex was sitting at is a dance floor. Dream Isabel accepts his extended hand. He bends down and kisses it, then twirls her around onto the dance floor. Isabel is watching all this (still sitting on the teacher's desk) with mixed emotions--astonishment, intrigue, and pleasure. Dream Alex and Dream Isabel continue to dance. Dream Alex is very sure of himself and expertly moves her around the dance floor, twirling and dipping her. Dream Isabel is enjoying herself immensely. As they continue to dance, they talk softly.

DREAM ISABEL
What do you really think of me?

DREAM ALEX
I think that underneath that beautiful exterior is an even more beautiful interior.
(beat)
But I have a feeling not too many people get to see that interior, do they?

DREAM ISABEL
(sadly)
No, they don't.

DREAM ALEX
'Cause it's too scary to show who you really are.
(beat)
You can show me.

DREAM ISABEL
(hopefully)
I can?

DREAM ALEX
(nodding)
Yeah.

Dream Alex and Dream Isabel continue to gaze into each others eyes, then each leans in for a kiss. Isabel is watching this intently. Just before Dream Alex and Dream Isabel kiss, we cut to:

  5 INT. ISABEL EVANS'S BEDROOM - NIGHT

Isabel bolts upright in bed, shocked at what she has seen and felt.

Cut to:

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

Michael is sitting in Sheriff Valenti's office; Valenti is interrogating him about Hank.

SHERIFF
Neighbors heard gunshots.

MICHAEL
I don't know anything about that.

SHERIFF
But you were there last night?

MICHAEL
Went home to get some stuff.

SHERIFF
What time was that?

MICHAEL
Um...does it matter?

SHERIFF
You were the last person to see him.

MICHAEL
What do you mean, I was "the last person to see him"?

SHERIFF
I called the plant. He never showed up for work.

MICHAEL
Maybe he's passed out somewhere. I don't keep track of him.

SHERIFF
Neighbors also said they heard an argument. And then, later, more sounds. Screaming. Crying. Tortured sounds, like an animal. Almost inhuman, they said.

MICHAEL
What are you talking about?

SHERIFF
Where were you, son?

MICHAEL
Out.

Cut to:

  7 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:

  8 INT. ISABEL EVANS'S BEDROOM - NIGHT (From Roswell: What Might Have Been Episode 119: The Witness)

Isabel is lying on her bed; Max, standing by her door, has just asked her a question.

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

MAX
Who said it was ...

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

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

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

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

MAX
(looking at her hopefully)
Now?

Cut to Liz's dream:

  9 INT. HALLWAY - TIME OF DAY INDETERMINATE

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

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

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

MAX
Liz! Liz!

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

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

LIZ
I knew you would come.

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

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

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

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

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

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

She sits on the grass.

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

Max and Liz continue to kiss in the background.

Cut to:

  10 EXT. WEST ROSWELL HIGH SCHOOL - QUAD - NOON (From Roswell: What Might Have Been Episode 119: The Witness)

Isabel is sitting alone at a table eating lunch. Michael comes by and sits with her.

MICHAEL
Hey.

ISABEL
Hi. What's up?

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

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

MICHAEL
It's about the dance ...

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

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

MICHAEL
No! Of course not!

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

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

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

MICHAEL
(under his breath)
Here it comes.

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

Cut to:

  11 INT. MICHAEL'S APARTMENT - NIGHT (From Roswell: What Might Have Been Episode 119: The Witness)

Max and Michael are alone in Michael's apartment having a discussion.

MAX
(teasing)
Do you have some new, magical power I don't know about?

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

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

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

MAX
Different than what?

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

Max nods.

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

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

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

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

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

Michael stands up and demonstrates.

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

MAX
Yes.

MICHAEL
And?

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

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

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

MAX
(supportively)
Try again. On the plant.

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

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

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

MAX
Whoa!

MICHAEL
Yeah.

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

MICHAEL (cont'd)
Man!

A smile of satisfaction plays at his lips.

Cut to:

  12 INT. MAX EVANS'S BEDROOM AND LIZ PARKER'S BEDROOM (Split screen) - NIGHT (From Roswell: What Might Have Been Episode 119: The Witness)

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

Cut to:

  13 EXT. ROSWELL STREET - COMMERCIAL DISTRICT - NIGHT DAY (From Roswell: What Might Have Been Episode 120: Limited Options)

Hank is 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.

Cut to:

  14 INT. CRASHDOWN - MAIN DINING AREA - NIGHT (From Roswell: What Might Have Been Episode 121: Who Am I?)

It's after-hours and the place is empty except for Liz, Max, and Maria in one 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, Max, and Maria are discussing Michael and Alex

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.

Cut to:

Max, Liz and Maria going over to Michael and Alex's booth and peering over Alex's shoulder at the drawing pad. The camera focuses on the drawing--a very good likeness of the Hispanic man from Independence Day and Sexual Healing.

Cut to:

  15 FLASHBACK - INT. ROSWELL SHERIFF DEPT. - INTERROGATION ROOM - NIGHT (From Roswell: What Might Have Been Episode 121: Who Am I?)

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
(angry)
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
.
  16 INT. MICHAEL GUERIN'S APARTMENT - NIGHT (From Roswell: What Might Have Been Episode 121: Who Am I?)

Michael, Max, and Isabel are standing in Michael's living room.

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
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.

Cut to:

  17 INT. ALEX WHITMAN'S BEDROOM - DAY (From Roswell: What Might Have Been Episode 121: Who Am I?)

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:

  18 FLASHBACK - INT. WEST ROSWELL HIGH SCHOOL - EMPTY CLASSROOM - NOON (From Roswell: What Might Have Been Episode 121: Who Am I?)

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

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.

ALEX
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.

Cut to:

  19 EXT. HIGHWAY 42 - OLD RADIO TOWER - NIGHT (From Roswell: What Might Have Been Episode 121: Who Am I?)

Liz is holding the orb. 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:

  20 INT. DARK ENCLOSURE - NIGHT (From Roswell: What Might Have Been Episode 121: Who Am I?)

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:

  21 INT. ISABEL EVANS'S BEDROOM - NIGHT (From Roswell: What Might Have Been Episode 121: Who Am I?)

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)
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.

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. She's concentrating, then 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.

Cut to:

  22 INT. PETERSON HOUSE - KITCHEN - NIGHT (From Roswell: What Might Have Been Episode 121: Who Am I?)

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.

Cut to:

  23 INT. PETERSON HOUSE - LIVING ROOM - LATER (From Roswell: What Might Have Been Episode 121: Who Am I?)
MARIA
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.

  24 EXT. WEST ROSWELL HIGH SCHOOL - QUAD - DAY (From Roswell: What Might Have Been Episode 121: Who Am I?)

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:

  25 INT. MESALIKO RESERVATION CAVE - NIGHT (From Roswell: What Might Have Been Episode 121: Who Am I?)

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:

  26 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.

Cut to:

  27 EXT. ROSWELL DESERT - VASQUEZ ROCK FORMATION - DAY (From Roswell: What Might Have Been Episode 121: Who Am I?)

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.

Cut to:

  28 EXT. ROSWELL DESERT - VASQUEZ ROCK FORMATION - LATER (From Roswell: What Might Have Been Episode 121: Who Am I?)

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.


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