"Breathing Lessons"
(Episode #122)

Story By
Joan Pickering with Erica Cavin

Written By
Joan Pickering
with
Erica Cavin

Beta Tester Draft	12/22/04
Final Draft	01/23/05
Posted	01/26/05

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) 2004-2005 by Roswell: What Might Have Been

TEASER

		1	INT. UFO CENTER MUSEUM - OFFICE - NIGHT

It's after hours and Max is doing some research on the computer in Milton's office. The monitor shows a March 30th newspaper article on the light-show sightings. Max starts printing out the article. He tenses, aware of something. We see a pair of hands approaching him. Max whirls about and grabs them.

MAX

Gotcha!

Max pulls Liz toward him and kisses her.

LIZ

(murmuring against his lips)

If this is what being on alert means I like it. But I thought you could only sense other aliens.

MAX

(smiling as he leans in for another kiss)

Could be you're part alien.

Liz gives him gentle kisses along the side of his face until she can whisper in his ear.

LIZ

I think you should keep checking, just to be safe.

MAX

Safe is important.

They kiss again. As they break from the kiss Liz notices the article on the computer monitor and her eyes widen in surprise.

LIZ

(still whispering)

Do you think you should be looking at that with Milton so close?

Before Max can respond, footsteps are heard on the stairs behind them.

MILTON (OS)

What's this?

Max and Liz turn quickly and the camera pulls back to reveal Milton picking up a Crashdown Café take-out bag from the top of the stairs and carrying it into the office. He's surprised to see Liz there.

MILTON (cont'd)

Oh! Hello.

(to Max)

Were we expecting company?

MAX

No, Liz decided to surprise me.

LIZ

(reaching out for the take-out bag)

Yes, I knew Max was working late tonight, so I thought you two could use some refreshment.

Liz starts removing food items from the bag and placing them on the desk.

MILTON

Oh! That is a nice surprise.

MAX

Liz was interested in the research you're doing on the light-shows that took place two weeks ago.

Max glances pointedly at Liz as he emphasizes "you're".

MILTON

Really! Did you see the signals? Weren't they amazing? Not the flying saucers, of course, that was kid stuff, but the spiral symbol ... that was real. I can feel it in every fiber of my being. I just know it must have been a call to the mothership.

(to Max)

Evans! I almost forgot to tell you. We have a name for the symbol--it's an image of the Whirlwind Galaxy!

Both Liz and Max are startled by this news, but try to hide their discomfort at Milton's newfound knowledge.

MAX

Where did you get this information?

MILTON

As you know, I have contacts everywhere, so since I figured the spiral symbol was probably of a galaxy, I sent a copy to all my contacts asking them to compare it to all their spiral galaxy photos, and one of them just got back to me. It's amazing how perfect a match it is! This is monumental, Evans, monumental.

Cut to:

		2	INT. SCOTTY'S BAR AND GRILL - CONTINUOUS

It's a slow night so there are only a few stragglers left. A man in an Army private's uniform is seated at the bar. He apparently has been there awhile and is quite inebriated, muttering to himself, slurring his words. (Note: all of his dialogue in the scene will be slurred.) Larry Trilling is seated in a booth and is watching the private. He gets up and moves over to the bar, sitting on a stool next to the private.

LARRY

You stationed at Eagle Rock military base?

PRIVATE

Good guess, considering it's the only one around here.

LARRY

Just wondering what brings you here. Don't you guys usually hang out at the Blue Moon?

PRIVATE

Depends on what you mean by "you guys".

(takes a sip of his beer)

Apparently wearing the same uniform, going through the same basic training, doesn't make me one of them.

LARRY

You don't fit in, huh? I know what that's like.

PRIVATE

I'm special ... I have special abilities, but they don't appreciate them.

LARRY

I hear you, man.

PRIVATE

No respect. You make one little mistake and they never believe you again.

The private takes another sip of beer.

LARRY

(heartfelt)

Yeah.

(beat)

What was your mistake?

PRIVATE

How was I supposed to know you can pick up other people's conversations on a cell phone? I thought it was an intergalactic message. It's possible! They're out there ...

He swings his arm wildly towards Larry, forcing him to lean back so as not to get hit.

PRIVATE (cont'd)

I've seen things.

LARRY

What kind of things?

PRIVATE

A bat signal. A spiral bat signal.

LARRY

You mean the one in the desert?

PRIVATE

This was no desert. This was in a high-security vault at the base.

Larry's interest really picks up now.

LARRY

Go on.

PRIVATE

They've got this silly little metal orb, that they keep in the vault. I swear I saw it shoot off this ... signal ...

His shoots his arm up towards the ceiling in demonstration, causing Larry to flinch.

PRIVATE (cont'd)

up to the ceiling, like it was calling for the mothership or something.

Larry is practically foaming at the mouth with excitement.

LARRY

What did you do?

PRIVATE

I did the right thing. I immediately called my sergeant. Course by the time he got there the signal was off.

LARRY

So he didn't believe you.

PRIVATE

(shaking his head)

Nope. No respect.

LARRY

Don't worry, friend. I believe you.

Cut to:

		3	EXT. SCOTTY'S BAR AND GRILL - PARKING LOT - LATER

Larry is helping the private into his car. They are being watched, but we do not see who is watching them; only a male hand on a steering wheel of the person sitting inside a car as he watches.

Cut to commercial.

END OF TEASER


ACT I

		4	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - DAY

Isabel and Liz are walking down a hallway discussing what they have accomplished. It's in between classes and other students, faculty, and administrative staff are also milling about. Isabel and Liz are speaking in low voices, aware of those around them.

LIZ

So, what can we deduce from what we found at the chambers?

ISABEL

Well, the baby clothes indicate they thought we would be infants when we emerged, not six years old.

LIZ

I agree. But the incubators must have been built to sustain you either way. I'm thinking the healing stones we also found behind the whirlwind symbol might have powered them in some way--keeping them in "balance", so to speak.

ISABEL

Have you analyzed the sample you took of the "incubators" yet?

LIZ

Yes. It has a similar cell structure as your individual saliva samples, but I haven't been able to determine anything further.

ISABEL

That's still more than we knew before.

Cut to:

		5	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - SAME

Michael and Alex turn a corner and start walking down another hallway that also has other students, faculty, and administrative staff milling about. They too are keeping their voices low.

MICHAEL

It's not bad enough the light-shows were a bust, but now Max says we have to "retire" the orb because his space cadet of a boss is getting too close.

(beat)

So tell me some good news. How are you coming with the translation of the book?

ALEX

I'm still working on the computer program I'm trying to create to figure it out. I just need to do a little more research at the University of Las Cruces. They have a really good linguistics program and library resource there.

MICHAEL

Well, let me know if I can do anything.

ALEX

Sure thing, but you've already been a big help.

MICHAEL

Me? How?

ALEX

Remember when we all met to discuss the book and what it might tell us?

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

The whole gang is there and the metal book Michael found in the cave is prominently on display and the main topic of discussion.

MAX

(shaking his head in frustration)

Imagine what this book could tell us if we could only read it!

ALEX

I've noticed that all of the symbols on the cave wall are also in the book; that must be a clue. Maybe there's something special about those symbols.

There's a moment of silence as they all contemplate this. Isabel is looking at Michael as if expecting him to say something, but he seems hesitant.

ISABEL

Tell them, Michael.

MAX

Tell us what?

MICHAEL

(hesitantly)

I thought I figured it out once, but…

MAX

But what?

MICHAEL

(not wanting to admit this to Max)

I was wrong.

MAX

Would you care to elaborate on that? What did you figure out?

MICHAEL

I thought that the symbols might be constellations. The V constellation I saw in my dream--it's Aries, the ram. When Venus is in the right place it completes the V. I took the Whirlwind Galaxy symbol that Nasedo left us near the cave and a map of Roswell--when positioned properly all the symbols take on locations in Roswell.

MARIA

How did--

MICHAEL

(interrupting)

Don't ask; I have no idea--I just knew.

LIZ

What makes you think you're wrong?

MICHAEL

We tried it out.

MAX

We?

ISABEL

The night you were mooning over Liz going on that blind date; Michael and I tried to contact Nasedo using the cave map.

MAX

What!? After I said it was a bad idea?

ISABEL

(visibly irritated by his tone)

Who died and made you king!?

MICHAEL

Yeah, majority rules so we ...

(pointing to himself and Isabel)

out-voted you and decided to send the signal ... unlike you deciding on your own to heal Liz.

Liz reacts to this. There is an awkward moment as the others notice her reaction. Max puts his arm around her.

		7	FLASHBACK TO PRESENT

ALEX

Even though Nasedo never answered your signal, I don't think you were wrong. What you figured out about the symbols for the library, the fire department, the high school, city hall, and the police department, I'm pretty sure turn out to translate as book, fire, education, politics, and the law.

Michael seems very pleased with himself. Alex seems to have something else on his mind that he's not sure how to broach.

ALEX (cont'd)

(hesitantly)

Are you ... are you still upset that Max saved Liz?

MICHAEL

What? Why would you--

(as it dawns on him what he said at the meeting)

Oh. No ... I was in the beginning ... but it's turned out to be a good thing. I just said that in the heat of the moment. It's just ... sometimes Max needs to be reminded that we're a democracy.

Cut to:

		8	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - SAME

Max and Maria are walking down another hallway, with other students, faculty, and administrative staff milling about. Keeping their voices low, they are discussing her research in looking for Hank.

MARIA

The weird thing is "Hank" told the sheriff that he heard the Sheriff's Department was looking for him from his friends and yet I asked every person Michael told me Hank knew, and several even Michael didn't know about, and none of them has seen or heard from Hank since late February, which is the first time he supposedly disappeared.

MAX

That is weird.

(beat)

Hank having several friends.

MARIA

(quick laugh)

True, using the term "friends" is being overly generous.

MAX

(thoughtfully)

Well, friends or no friends, apparently no one who knows him has seen him, which means "Hank" was lying. No big surprise there.

(pause)

MARIA

Speaking of real friends, what you said to Michael about my being safer with him than without him made an impact, and I really wanted to thank you.

MAX

(smiling)

Glad I could help.

MARIA

(excited)

He's even taking me to the dance! Granted he said we wouldn't be doing any dancing, but ... baby steps.

Cut to:

		9	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - CONTINUOUS

Liz and Isabel are continuing their conversation.

ISABEL

So what are you doing after school today? Do you have to work?

LIZ

Not until the dinner shift, but I promised Maria I'd go shopping with her. She still needs an outfit for the dance.

ISABEL

(slightly disappointed)

Oh.

LIZ

(sensing Isabel's disappointment)

Would you like to come?

ISABEL

(misinterpreting)

I don't need to shop for an outfit.

LIZ

No, I kinda figured you'd be all set, being the school fashion maven and all. I meant would you like to help Maria find one?

ISABEL

(smiling)

Oh, sure. I can do that.

Suddenly Isabel stops short and starts to look around.

LIZ

What? Do you "sense" someone?

ISABEL

Yes.

LIZ

Are you sure it's not just Michael like last time?

ISABEL

No.

Cut to:

		10	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - SAME

Michael and Alex are nearing the end of their hallway. It's apparent that Michael senses someone.

ALEX

Is it stronger now?

MICHAEL

Yeah, I'd say it is getting stronger.

ALEX

It's too bad you can't distinguish between each other and whoever else might be out there.

MICHAEL

We're working on it.

Cut to:

		11	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - SAME

Max and Maria are nearing the end of their hallway and Max too, seems to be sensing something.

MARIA

I bet it's Mr. Clarke, the new substitute for French. The car accident Ms. Lockridge was in sounded highly suspicious to me. Or maybe it's the new secretary in the office; Principal Forrester's secretary is on maternity leave--very convenient.

MAX

You know it doesn't have to be someone new. It could be someone we think we know.

MARIA

Right! Mr. Seligman was out sick last week. Did he seem different to you when he came back? I think he was acting strange. And Mr. Sommers went to a friend's funeral yesterday, or was it his own? Or what about--

Maria continues to think of possible suspects while Max looks on bemused and appreciative of her enthusiasm.

Cut to:

		12	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - SAME

Kyle and Paulie are walking down a hallway. They stop when Kyle notices a pretty, blonde girl who is working on the combination of her locker in the background.

KYLE

(admiringly)

Who's she?

PAULIE

You haven't met the new girl yet? She just started today. She's hot, but a little strange.

KYLE

Strange? How?

PAULIE

I heard that she's already finished school for the year and is ... get this ... "auditing" classes till the end of the year so she can get a "feel" for the school. She's supposed to enroll in September. Can you believe that? Who would go to school when they didn't have to?

KYLE

Maybe she's just here for the social aspect. You know, trying to make friends for over the summer.

PAULIE

Well she's not succeeding. Everyone who's met her thinks she's way too blunt, forward, and just plain weird. She's been going up to everyone, introducing herself, shaking their hand, and then moving on.

(seeing Kyle's interest)

I'm sure she'll get to you eventually. I think she's going alphabetically.

Kyle looks at Paulie like he's making it up.

PAULIE (cont'd)

I said she was strange.

KYLE

(eyes the new girl with appreciation)

Strange can be good.

Paulie starts to leave, but Kyle does not follow--he's totally focused on the new girl. Paulie shakes his head in defeat and leaves without him. Kyle leans against a locker, playing it cool, admiring the new girl from a distance, planning his strategy. Just as he is about to make his move the bell rings. The girl leaves for her class and Kyle gets caught in a mob of students rushing to class, missing his chance. Among the mob are Liz and Isabel, Michael and Alex, and Max and Maria who all acknowledge each other's presence; Isabel, Michael, and Max assuming they were "sensing" each other. They switch "partners" as they head off for other classes--Liz with Maria, Isabel with Michael, and Max with Alex.

Cut to commercial.

END OF ACT I


ACT II

		13	INT. ROSWELL MALL - BOUTIQUE DRESSING ROOMS' HALLWAY - DAY

Isabel and Liz are outside a dressing room talking, waiting for Maria to finish trying on a dress. Maria is contributing to the conversation through the door and also we will intercut to Maria inside the dressing room, but the angle is such that we do not see her dress.

ISABEL

(to Liz)

So is your outfit all set?

LIZ

Oh, yeah. I've been looking forward to this day for a looong time, so I've had my outfit set for almost as long.

MARIA (OS)

Yes, unlike me, Liz always plans ahead.

ISABEL

(curious)

How far ahead?

MARIA (OS)

Years.

Liz makes a face at Maria's dressing room door.

ISABEL

(perplexed)

Liz has been looking forward to the Spring Blast-Off for years?

MARIA (OS)

No, going to a school dance with Max.

Liz looks embarrassed.

ISABEL

I've often wondered what you thought of Max before September--

MARIA (OS)

You mean when Max--

ISABEL and LIZ

(interrupting, in unison)

Maria!

MARIA (OS)

helped her?

ISABEL

(to Liz)

So?

LIZ

(not sure how much she wants to reveal)

Well, I didn't really know him that well, except as my lab partner, and before that as just another student. He seemed very bright, but quiet ... reserved ...

Maria scoffs.

ISABEL

So you weren't really attracted to him before.

MARIA (OS)

Come on, Liz, she wants to know how you really felt about him.

		14	INTERCUT TO DRESSING ROOM

MARIA (cont'd)

She was always talking about him, wondering what he was really like.

		15	INTERCUT TO HALLWAY

LIZ

Maria!

MARIA (OS)

We're all friends now, we can tell her the truth.

LIZ

(smiling)

So it's OK if I point out how you have a tendency to exaggerate?

MARIA (OS)

Ha ha, very funny.

ISABEL

(to Liz)

So you didn't talk about Max?

LIZ

I wouldn't say that ... It's just, from the time I met him in third grade I felt this ... I don't know ... connection or something ... like we were supposed to be friends.

ISABEL

So what happened? Why didn't you become friends for so long?

LIZ

(like Isabel should know better)

You know how private your brother was ... is.

(explaining anyway)

Whenever I approached him he seemed so ... guarded. So I stopped trying.

ISABEL

So you lost interest over the years?

LIZ

Not exactly. I mean, when we got older Max was always polite and kind with me ...

(with a heartfelt sigh)

and his eyes ... I would get lost in those eyes--

(in a more serious tone)

but he still seemed to have his guard up all the time. I just figured he wasn't interested in me; at least not that way.

MARIA (OS)

That's the paradox that is Liz.

		16	INTERCUT TO DRESSING ROOM

The camera focuses on Maria's hands as they do the straps (which wrap around her ankles) on her lavender shoes. Again, we do not see her dress.

MARIA (cont'd)

She is so confident in her scholastic abilities; she knows what she wants and she goes after it with a vengeance, but her personal life ... She's always putting herself down, thinking she has to settle for less than she wants.

		17	INTERCUT TO HALLWAY

ISABEL

Well Max may not have shown outwardly how he felt, but internally ...

(beat)

He dreamt about you all the time, but you probably know that now.

(to Maria)

Michael dreams of you too.

(to both)

Do me a favor though, and don't tell them I know.

LIZ

So you can--visit--Michael, and Max, without them knowing it? They don't sense you being there?

ISABEL

As long as they are asleep, and as long as I don't make my presence known to them, then no, they don't seem to sense me being there.

LIZ

(musing; in science mode)

Interesting.

Maria opens the dressing room door to show Isabel and Liz her dress. She looks wonderful. The dress is a peach chiffon with thin straps, a V neck, and a multiple layer handkerchief hemline. It has an ethereal look to it.

LIZ

It's perfect!

MARIA

Not quite.

(points to the shoes she is wearing)

I love these shoes I just bought, and they are the right style, but the color doesn't match at all and this was the last pair, which was why they were on sale and it was a final sale so I can't take them back and I can't afford to get the dress and another pair of shoes and I don't have anything at home to go with it--

ISABEL

(interrupting)

Maria, relax, breathe. I can take care of it.

(glances at the security camera outside the dressing area)

When we get home.

MARIA

Really? How? Oh, right! Thanks.

(beat, curious)

By the way, who else have you "visited" without them knowing about it?

Cut to:

		18	INT. ALEX WHITMAN'S BEDROOM - SAME

Alex is at his desk studying the symbols from the book. His phone rings and he answers it.

ALEX

Hello.

Cut to:

		19	INT. MAX EVANS'S BEDROOM - CONTINUOUS

Max is at his desk on the phone. His computer is on and he appears to be comparing pictures of military and non-military personnel to the Desert Man sketch, as Alex did in "Who Am I?".

MAX

I just finished checking the 60's and 70's ... nothing. But I think you're right, there could be a connection between this Desert Man and the base, and we should keep looking.

Cut to:

		20	INT. ALEX WHITMAN'S BEDROOM - CONTINUOUS

ALEX

OK, I'll continue checking with the 80's and 90's and get back to you.

Alex hangs up and starts typing on his keyboard. The monitor displays the Eagle Rock Base personnel files. He types in search criteria such as "1980" and "male".

Cut to:

		21	INT. MICHAEL GUERIN'S APARTMENT - NIGHT

Michael is looking through his CD collection when there is a knock on his door.

MICHAEL

(calling out)

It's open!

Isabel opens the door and enters. She is carrying a tote bag and puts it on the counter.

ISABEL

(cheerfully)

Are you ready for your dance lesson?

MICHAEL

(grudgingly)

Ready as I'll ever be.

ISABEL

OK, let's get right to it. Why don't you put on some music that you usually listen to and dance to when you are alone, so I can see what kind of moves you have.

Michael looks at her aghast.

ISABEL (cont'd)

Come on, don't be embarrassed. We all do it. We all dance to music when no one is watching and I need to see what you can do, so just pretend I'm not here. I promise I won't make fun.

Michael looks at her askance, reluctant to believe her, but puts a CD into the player. "Enter Sandman" by Metallica begins playing. Michael starts to get into the music and starts playing air guitar. He's not bad but he's also not dancing. Isabel looks on in alarm--this job is going to be more difficult than she anticipated.

Cut to:

		22	INT. CRASHDOWN - COUNTER - SAME

Liz and Maria are busy serving customers. They are both working the counter and the register. Jen and a couple of other waitresses are serving the booths and tables. We can see Ricky in the kitchen in the background. It's the night shift, but due to daylight savings time it's still light out. As Maria and Liz pass each other behind the counter they throw ideas back and forth for their plan against Elana and Vanessa. Kyle is one of their customers at the counter and overhears their conversation.

LIZ

Didn't Susan and Briana do that to Pam already? I think we need something new.

Liz goes to help someone at the register. Maria goes to pick up an order, then delivers it. They meet near Kyle.

MARIA

I'm running out of ideas and we're running out of time.

KYLE

What are you two talking about?

Maria and Liz look at each other to determine how the other feels about telling him the truth. They each nod that it's OK.

MARIA

We're cooking up a diabolical plan to get even with Vanessa and Elana.

LIZ

(correcting Maria)

To teach them a lesson.

MARIA

(to Kyle)

Liz is teaching them a lesson, I'm getting even.

(beat)

You're good with this sort of thing; would you like to help?

KYLE

Love to.

LIZ

Don't you even want to know why we are doing this?

KYLE

For those two snobs? No. Besides, I owe you a favor ...

(mildly flirtatiously)

You scratched my back, now it's my turn to scratch yours.

MARIA

(pointedly)

Her back is taken.

Liz blushes. Kyle puts up his hands in surrender.

MARIA (cont'd)

(to Liz)

And what were you doing scratching his back?

Kyle looks like he might be fantasizing about Liz scratching his back.

LIZ

(bringing him down to earth)

I helped Kyle when was he failing chemistry.

MARIA

Ohhhh. Right.

(smiles brightly, to Kyle)

So you'll help? Great!

Cut to:

		23	INT. MICHAEL GUERIN'S APARTMENT - CONTINUOUS

The song ends and Isabel smiles bravely.

ISABEL

(placatingly)

OK, not bad. But I don't think there is going to be too much heavy metal played at the dance. Do you have anything else you listen to?

MICHAEL

I have other bands, but it's all the same genre.

Isabel walks over to the tote bag and pulls out a CD holder.

ISABEL

Good thing I brought some of my own.

Isabel puts in a more contemporary rock song. She starts dancing to it and she moves back over towards Michael.

ISABEL

OK, now try to follow some of my moves.

Michael tries but he's very stiff and awkward.

ISABEL (cont'd)

You need to relax. Let the music flow into you. Feel the rhythm.

Michael tries again. There is a slight improvement but it's still awkward as he tries to mimic her moves.

ISABEL (cont'd)

All right, I don't think that's gonna work for you. Maybe instead of watching me, you should close your eyes, and just let the music wash over you.

Michael looks at her skeptically, but tries it. There's a slight improvement. Isabel smiles.

ISABEL

That's better. I think we have something we can work with now.

Cut to:

		24	INT. CRASHDOWN - COUNTER - CONTINUOUS

Maria, Liz, and Kyle are still talking.

MARIA

Yep, I think that will work.

LIZ

Me too.

The radio at the Crashdown starts playing the same song that Michael and Isabel have been dancing to at Michael's apartment.

MARIA

Oh, I love this song!

She dances her way over to the coffee machine, picks up a pot and dances over to her customers. Kyle watches, amused.

KYLE

(to Liz)

I guess someone's excited about the dance.

LIZ

She's going with Michael. It's kind of a big deal.

KYLE

(wistfully)

I don't have to ask who you're going with.

Liz's smile acknowledges that he's right, and her sympathetic look also acknowledges that she knows this is hard for him.

LIZ

How about you?

KYLE

(unenthusiastically)

Vicky. It's not a love match, but she's e--

(searches for a word that won't get him into trouble)

Fun.

Liz smiles. Kyle turns slightly on his stool and spots the new girl from school walking past the Crashdown. He stares, hesitates, then leaps off of his stool and heads for the door.

KYLE

(calling over his shoulder as he slips out the door)

Bye.

Maria and Liz, curious as to what caught Kyle's attention, make their way to the now-closed door.

LIZ

Looks like Vicky has some competition.

MARIA

(looking pointedly at Liz)

Vicky has always had competition.

LIZ

(realizing Maria means her)

No way! Kyle is sooo over me by now.

MARIA

Don't sell yourself short, girlfriend. It's gonna take someone very special to make him forget what he had with you.

LIZ

Well, that shouldn't take long because what we had was pretty ordinary.

The camera pans to show Kyle has been fighting traffic to get across the street and just misses getting to the new girl, who drives away in her car. Kyle looks frustrated.

MARIA (VO)

Not to him.

Cut to:

		25	INT. MICHAEL GUERIN'S APARTMENT - CONTINUOUS

Isabel changes the CD track to something more romantic, slow.

ISABEL

OK, let's try a slow dance.

MICHAEL

(apprehensively)

A slow dance?

ISABEL

Yes. A "slow" dance. This one is more important than the fast one. Maria will definitely expect you to slow dance with her and will be very disappointed if you don't.

Michael seems very hesitant. Isabel doesn't notice because she is busy taking off her shoes.

MICHAEL

(puzzled)

We have to take our shoes off?

ISABEL

No. I happen to know that Maria will be wearing three inch heels so if I take off my shoes she'll be almost my height. It will help you get the right feel.

She approaches him and puts her arms around his neck.

ISABEL

Put your hands on my back.

Michael reaches out and places his hands on her back, leaving a large gap of space between them.

ISABEL (cont'd)

Michael, you have to pretend I'm Maria. Hold me like you would her.

He does, reluctantly.

ISABEL (cont'd)

OK, now just sway to the music.

They start swaying to the music. Michael is a little off tempo at first, and steps on her toes.

ISABEL (cont'd)

Ow!

MICHAEL

(eager for an excuse)

Maybe we should stop.

ISABEL

(looks at her feet with concern, then bravely smiles)

No, no, I'll be fine. Let's keep going.

Michael starts to get into the rhythm. Isabel relaxes and lays her head on his shoulder. They both seem at ease with each other. Suddenly there are a couple of flashes. First of young Michael cowering before Hank. The second of young Isabel horrified when she sees a greyling mannequin in a store. She keeps looking from the greyling to looking at herself in a mirror in the store, to back to the greyling. The camera shows their individual reactions: their eyes widen in shock. They stop dancing and separate quickly.

MICHAEL

What was that!?

ISABEL

OK, I think that's enough lesson for today.

MICHAEL

I agree.

ISABEL

I think you're ready.

MICHAEL

As I'll ever be.

She heads for the door.

ISABEL

(smiles weakly)

See ya.

She exits, closing the door behind her.

MICHAEL

(softly to himself)

That's what I'm afraid of.

Cut to commercial.

END OF ACT II


ACT III

		26	EXT. WEST ROSWELL HIGH SCHOOL - QUAD - NOON

Elana and Vanessa are carrying their lunches to a table. Kyle spots them and heads right for them, deliberately, but not too obviously, bumping into Vanessa, causing her to spill her drink.

VANESSA

(indignant)

Could you be more clumsy!?

ELANA

I think not.

KYLE

Now, now, sorry about the spill, but you two are gonna have to be nicer to the little folk or neither of you will win.

Kyle walks off. Elana and Vanessa look at each other puzzled.

VANESSA

Win what?

ELANA

I haven't a clue.

Cut to:

		27	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - LATER

Maria and Liz are walking down the hallway in between classes. Other students are milling about. They see Kyle at the end of the hallway. He slides his finger along his nose a la the movie "The Sting", signaling Liz and Maria that they are "on". They respond in kind. He continues on his way and they continue their conversation.

LIZ

So did Isabel help you with your dress and shoe problem?

MARIA

Yes, she did, and it looks great! It almost makes up for her walking around my dreams uninvited.

Before Liz can respond they both notice Elana and Vanessa going into the girls' bathroom. They wait, conspiratorially, for a moment outside.

LIZ

OK, we go in; if they're in the stalls and no one else is there we go into our act; if not we just primp a little, leave, and try again later today.

MARIA

Got it!

Liz and Maria enter the girls' bathroom. The camera follows them. They appear to be alone and they see Elana's and Vanessa's feet under the stalls. Maria gives Liz "the signal". Liz nods and returns it. They each go to the sinks and mirror. Liz pulls out a lipstick from her backpack and Maria pulls out a brush from hers.

LIZ

So, who are you voting for?

MARIA

You mean the dance committee award?

LIZ

Yeah.

MARIA

I don't know. I mean Elana, Vanessa, Sandy, and Robert all seem alike. Who knows which of them deserves the award the most.

LIZ

Yeah. Too bad it's a secret to them or they could just tell us who had done what, so we'd know who had done the most to earn it.

MARIA

(putting her brush away)

You done?

LIZ

(clicks her lipstick shut)

Yup, that should do it.

They both smile and leave the bathroom. Elana and Vanessa flush their toilets and exit their stalls. It's obvious they have overheard. We stay a moment to note their calculating looks.

Cut to:

		28	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - SAME

Max is walking down a hallway alone. The expression on his face tells us he's "sensing" something. The camera angle shows that there are a few students and teachers, etc. at the other end of the hallway behind him, some familiar, some new; among them is the new girl introducing herself to Mr. Seligman. The camera focuses on Max who stops in his tracks, trying to figure out what he is feeling. He turns to look behind him. Everyone who was behind him is now gone and the janitor's closet door is closing. Max hesitates, then approaches the door slowly. When he gets to the door he reaches out, hesitantly, then flings the door open. The person inside turns quickly at the sudden opening of the door and there is a blast of fire. Max reacts by putting out his hand in a protective stance and unwittingly puts up a "shield", which shimmers green, between him and the person in the closet. Within milliseconds he realizes it's just the janitor wearing a welder's helmet and holding a lit welding torch. Max immediately puts his hand down and the shield dissipates. The janitor raises his helmet. It's apparent he didn't see Max's shield because of the shield of his helmet and the fire, and it happened so quickly even Max isn't really sure it happened. He's looking at his hand strangely when the janitor breaks into his confused thoughts.

JANITOR

Can I help you?

MAX

Oh. Sorry. Didn't mean to disturb you. Thought you were someone else.

JANITOR

(teasing)

And just who else did you expect to meet in the janitor's closet?

Cut to:

		29	EXT. WEST ROSWELL HIGH SCHOOL - PARKING LOT - DAY

Max, Michael, Isabel, Liz, Maria, and Alex are walking towards the Jeep and the motorcycle. In the background we can see Elana and Vanessa going up to other students, separately, talking to them before they can get into their cars (not always to the pleasure of the student), then rushing to the next student. Max, Isabel, Liz, and Alex stop at the Jeep; Max stops Michael and Maria from continuing to the motorcycle.

MAX

Let's all meet at Michael's tonight after work.

MARIA

Um, Max, I was kinda planning on making it an early night tonight--get my beauty rest so I look my best for the dance tomorrow night.

MAX

It won't take long. I just want to show you all something that requires more privacy.

Cut to:

		30	INT. MICHAEL GUERIN'S APARTMENT - NIGHT

Isabel, Alex, and Liz are sitting on the couch. Michael and Maria are sharing an arm chair. Their eyes are wide in wonder. Max is standing before them. It's apparent he has just shown them something. Alex is the first to speak.

ALEX

Wow!

MARIA

Understatement!

ISABEL

(equally impressed but also concerned)

Do you think the janitor saw?

MAX

No, I'm pretty sure his helmet and the torch distorted his vision. Besides it happened so fast I wasn't even sure it had really happened.

MICHAEL

Do it again.

Max does the same gesture he did in the janitor's closet and the green shield appears again.

MICHAEL (cont'd)

That is so cool.

Liz gets up from the couch and hesitantly reaches out to touch it. It's impenetrable, but does not harm her.

LIZ

(breathless)

Whoa! Max, this is amazing!

MAX

I know.

Liz walks around the shield examining it closely. She stops next to Max.

LIZ

How strong do you think it is?

ALEX

One way to find out.

(to Max and Liz)

You ready?

Max and Liz both nod. Max adjusts his stance to brace for an impact. Liz studies the shield closely to watch for changes. Alex bolts from the couch and rushes the shield. He bounces off and lands, unharmed, in Isabel's lap. Everyone looks astounded, then Isabel starts laughing.

ALEX

(smiling)

I'd say pretty strong.

(looking at Isabel)

You too.

Cut to:

		31	INT. ISABEL EVANS'S BEDROOM - NIGHT

Isabel goes through her closet, pulls out a semiformal dress and puts it on. She looks at herself in a full-length mirror. She doesn't like what she sees. She flashes back to the dress she was wearing in Alex's dream, then waves her hand over the dress she is wearing. It turns into the sexy red dress from the dream. Isabel smiles, liking what she sees. Then, a look of consternation crosses her face.

ISABEL

(softly to herself)

Subtle, Isabel; like he won't notice it's the exact same dress.

Isabel looks at herself in the mirror with a critical eye. She waves her hand over the dress, modifying it slightly--removing the black border at the top, the gold and black thread print--changing it to a Jacquard weave, and changing the color of the straps from black to red. She debates about changing the spaghetti straps to another style, and removing the slit in the back, but decides to keep them. She eyes it critically again, smiles and nods in approval. As she puts on her shoes, she changes their color to match the dress. She does the same as she puts on her shawl and as she picks up her purse. She takes one final look in the mirror, then opens her bedroom door and exits.

Cut to:

		32	INT. EVANS LIVING ROOM - CONTINUOUS

Diane, Phillip and Max are there. Phillip is taking Max's picture, who is looking exceptionally handsome in a black suit, white shirt, and black tie. They all glance towards Isabel, as she enters the living room from the hallway, and smile broadly in approval.

PHILLIP

(almost in awe)

Honey, you look ... beautiful.

DIANE

Yes, absolutely beautiful!

MAX

(nodding)

You really look good. That dress ...

Isabel smiles radiantly, basking in all the attention.

ISABEL

Oh, this is just something I threw together.

DIANE

(shaking her head, but her pride is coming through)

It never ceases to astound me, all the incredible outfits you are able to put together. You've done amazing things with that sewing machine we gave you two years ago. We may have a budding designer in our midst.

A look of guilt passes over Isabel's face, but she quickly covers it with a beaming smile. The doorbell interrupts before Isabel can respond.

MAX

That must be Alex. I'll get it; I have to leave to pick up Liz now, anyway.

Max picks up the box with Liz's corsage and heads towards the door. Phillip calls after him.

PHILLIP

Don't forget to ask the Parkers for duplicates of any pictures they take.

Max turns to look over his shoulder.

MAX

(grinning)

Sure, Dad.

Max opens the door to Alex, who steps into the entry hall. He also looks very handsome in a similar black suit, white shirt and black tie.

MAX

(smiling)

I'll see you two at the dance.

Max leans in and whispers.

MAX (cont'd)

Just remember to breathe.

Alex is nonplussed, having no idea what Max is taking about. He smiles and nods at Max.

ALEX

Sure ... right. See you at the dance.

Max leaves and Alex proceeds into the living room. When he sees Isabel, he momentarily forgets to breathe.

ALEX

(partially regaining his composure)

You look ... stunning!

ISABEL

(smiling)

Thank you, Alex.

Alex holds up the box with her corsage.

ALEX

This is for you.

He takes it out of the box and places it on her wrist.

PHILLIP

OK, time for pictures.

Diane positions them and Phillip starts taking pictures, as we cut to:

		33	INT. PARKER LIVING ROOM - LATER

Liz is equally stunning in her outfit--a form-fitting, silky, midnight blue sheath with cap sleeves and a sweetheart neckline. Max is speechless, mesmerized. Jeff notices and leans over to Max.

JEFF

(sotto voce)

Breathe, Max, breathe.

		34	INT. WEST ROSWELL HIGH SCHOOL GYMNASIUM - LATER

Michael and Maria enter the gymnasium. We see that Maria chose to change the color of the dress to match the shoes. She looks beautiful and Michael looks amazing, having bitten the bullet and donned a black suit and shirt. The camera pulls back to reveal the school gymnasium, which is decorated for the Spring Blast-Off (with such things as paper rocket ships leaving a trail of paper flowers in their wake), and is filled with students and chaperones enjoying the festivities. The Alienettes are up on the stage, playing a fast song. They are doing a mediocre job of it, but some students are on the dance floor, enjoying it nonetheless, while others are seated at tables, talking. Kyle and Vicky are at the refreshment table. Kyle is busy eating; Vicky, who is facing the gymnasium notices Michael and Maria's entrance.

VICKY

There's something I never thought I'd see in my lifetime.

KYLE

(turning quickly to look behind him)

What?

VICKY

(pointing towards the entrance)

Michael Guerin at a school dance!

KYLE

Yeah, well, Maria has a way of convincing you to do all sorts of things.

VICKY

(not really listening)

Mmmm, I must say, he cleans up good! Still a little "Rebel Without a Cause"ish, with the all black and no tie, but yeah, not bad.

(noticing Kyle's "What the hell?" look)

But not as good as you, honey. You look much better.

She starts playing with his tie, being kittenish. The camera pans away from Vicky trying to make up for her faux pas, passing Chris, Marcos and Nicky, who apparently found dates in time, then by Amy and Valenti at one of the tables, observing the activities, acting as chaperones. Amy waves to Maria and Michael. Maria gives a tiny wave back looking embarrassed. She walks quickly towards Alex and Isabel who are sitting at another table together. Michael speeds up to match her pace. The band, which has switched to a slow song, hits a sour note and Maria and Alex exchange pained looks, as do Chris, Marcos and Nicky. The camera continues to pan and stops when it finds Max and Liz on the dance floor.

MAX

(softly)

I still can't believe this is happening. I dreamed of this day for so many years ... but my imagination fell far short of the reality. I may never come down from this cloud.

LIZ

(losing herself in his eyes)

I know what you mean.

Max moves one of his hands from its place on her lower back and begins gently stroking her long hair. She smiles. He takes her closer in his arms and strokes the side of her face. She tilts her head toward his hand and kisses his open palm.

		35	FLASH TO EXT. ROSWELL ELEMENTARY SCHOOLYARD - DAY

Young Liz is playing rock, paper, scissors with her friends. She looks up from the game to see young Max staring at her. He and young Isabel are standing by the school bus. Young Isabel pulls young Max away. Young Liz watches young Max for a long moment as he walks away.

		36	FLASH TO EXT. ROSWELL CITY PARK - DAY

Young Max is sitting alone under a tree. In the background young Liz and some other children are playing some game involving a ball. The ball rolls away and young Liz runs after it. It stops near young Max. She invites him to join the game. Young Max looks like he wants to accept, but then shakes his head and looks down. Young Liz waits a few seconds then walks away with the ball. Young Max does not see the hurt look on her face.

		37	FLASH TO EXT. ROSWELL MIDDLE SCHOOL - LUNCHROOM - DAY

A young teen Liz is sitting at a table in the lunchroom with some other young teen girls. A number of young teen boys at a nearby table, a young teen Kyle among them, are showing off for the girls' benefit. Most of the girls are giggling, but not young teen Liz. Her attention is caught by young teen Max, sitting alone at another table. He appears totally isolated from what's going on around him. Absent-mindedly she is drawing a heart in her notebook.

		38	FLASHBACK TO PRESENT

Max looks at Liz, astonished.

MAX

I had no idea you felt that way before I ...

LIZ

Changed my life forever?

Max nods.

LIZ (cont'd)

Max, if invisibility were an Olympic sport you'd win the silver.

MAX

(smiling)

Not the gold?

LIZ

(intently)

No. You let me see you now.

They kiss, the passion building. The camera moves back to show Valenti watching them, an unreadable expression on his face.

		39	FLASHBACK TO EXT. DESERT HIGHWAY - DAY

Valenti and Deputy Owen have pulled off the road and are searching the area, as if for clues. In the distance we can see the old radio tower.

OWEN

Just what is it we are looking for?

VALENTI

Some sign that those kids have been out here recently.

OWEN

You think they're responsible for the signals?

VALENTI

I think they're responsible for a lot of unexplained things.

		40	FLASHBACK TO PRESENT

Close-up of Max and Liz, still kissing. Suddenly a hand appears on Max's shoulder. Startled Max breaks from the kiss and turns to see Valenti standing beside him.

Cut to commercial.

END OF ACT III
ACT IV

		41	INT. WEST ROSWELL HIGH SCHOOL - GYMNASIUM - SAME

VALENTI

Mr. Evans, Ms. Parker, it's time to come back down to Earth.

Max and Liz look wide-eyed with worry at Valenti.

VALENTI (cont'd)

Tone it down; at least while under my watch.

Valenti walks away with a slight smile on his lips and Max and Liz both sigh with relief. The camera pans and stops at Michael and Maria, seated at a table. The band is playing another slow song. Michael is fidgeting, trying to get up the nerve, then surprises Maria by getting up, taking her hand, and leading her to the dance floor.

MARIA

(flabergasted)

Wh-- wha-- Oh my God, are you actually gonna dance!? I thought you said you don't.

MICHAEL

It was more like couldn't.

MARIA

So what, you ...

(wiggles her hand to suggest use of his powers)

and suddenly you can?

MICHAEL

No ... they don't work that way; you know that.

MARIA

So ... ?

MICHAEL

Isabel helped.

They start to dance. He's actually doing a decent job; holding her close, not stepping on her toes. Maria rests her head on his shoulder, enjoying the closeness.

MARIA

Isabel, huh? I'll have to make sure I thank her.

MICHAEL

We already did.

Maria looks up, confused.

MICHAEL (cont'd)

With the Peterson kids.

MARIA

(as it dawns on her what he's saying)

Whoa ... you did that for me, not Isabel?

The look on Maria's face tells Michael that he scored major points and he is pleasantly surprised. He leans down and they kiss. Just as it starts to heat up, a hand taps Michael on the shoulder. He breaks from the kiss and turns to see who interrupted them. The camera pulls back to reveal Mr. Seligman.

SELIGMAN

Rein in the primordial emotions, Mr. Guerin, Ms. DeLuca.

Seligman walks on, leaving Michael nonplused.

MICHAEL

(incredulous; softly to himself)

Primordial?

Dissolves show a passage of time; the various couples dancing to fast songs, Liz and Max with wild abandon--really enjoying themselves despite the band's performance, Alex and Isabel and Kyle and Vicky having fun, but not enjoying the "music" quite as much, especially Alex, and Michael and Maria giving it a try, but sitting most of the fast songs out. At one point we see Kyle carrying a decorated box (which looks like it might contain votes) towards the gym teacher's office. Elana and Vanessa, on the dance floor with their dates (ivy leaguer types) are watching him. Later the camera stops at a couple at the refreshment table. Elana and Vanessa and their dates are within hearing distance, as are Chris, Marcos and Nicky, but unseen by the couple. The lead singer of The Alienettes misses a high note.

MALE STUDENT

(cringing)

You know, I could of sworn Alex's band The Whits auditioned for this dance. What happened?

FEMALE STUDENT

Apparently the dance committee is tone deaf.

Elana and Vanessa look indignant. Their dates steer them away from the couple as if they are beneath them. Chris, Marcos and Nicky, getting punch, have heard and seen the above. They speak in conspiratorial whispers.

CHRIS

I wish we could say something.

MARCOS

Yeah, I know, but we promised Alex we wouldn't.

NICKY

It wouldn't be fair to Isabel to drag her into it.

They leave the refreshment table, carrying punch to their dates seated at another table. The camera keeps panning. The band is playing another slow song and the camera focuses on Alex and Isabel on the dance floor.

ALEX

I really like that dress.

ISABEL

Thank you.

Alex is quiet for a moment, trying to work up the courage to ask her something. Finally he goes for it.

ALEX

You wouldn't, by any chance, be ... visiting my dreams?

Isabel stiffens slightly and laughs nervously.

ISABEL

Why would you think that?

Alex holds her a little closer.

ALEX

Because this is a dream come true for me.

Isabel smiles and visibly relaxes.

ALEX (cont'd)

(thoughtfully)

I've envisioned this night, so many times ... but I never felt it would actually come true.

Alex relaxes his hold on her enough to make eye contact. He has a twinkle in his eye and a smile on his lips.

ALEX (cont'd)

Perhaps I should start dreaming of Porsches, next.

Isabel gives him a wry smile and a slight pinch on the arm.

ISABEL

Yeah, you do that.

ALEX

(laughing)

Ouch!

(pause)

You do realize we need to discuss privacy issues.

Isabel holds him closer and puts her head on his shoulder.

ISABEL

I know, but later. Let's not spoil the moment.

ALEX

(enjoying the closeness)

Right, let's not.

They continue to dance. He's suddenly more confident in himself and it shows. Alex twirls her around, then dips her, just like in his dream. They are both loving every minute of it. The camera pans and then stops on Amy, who is now sitting alone at the table watching the couples on the dance floor. The camera angle widens to include who Amy is watching--Maria and Michael slow dancing. She slips a small camera from her purse and takes a few pictures surreptitiously. The strobe lights mask the flash from the camera. Then she decides she wants to take one close up so she moves in. Maria spots her.

MARIA

Mom!

Maria beckons to Amy to come closer.

MARIA (cont'd)

(sotto voce)

What are you doing!? Put that camera away before someone sees you. Oh my God, I'm gonna be a laughingstock if anyone saw you.

AMY

(repentant)

I'm sorry, honey, but Jim and I had to get here early so I didn't get any pictures at the house and you two looked so sweet ...

MARIA

Just ... just ... put it away. OK?

Amy does and starts to walk away. Maria grabs her by the arm and leans in close so only Amy can hear.

MARIA (cont'd)

Did you get any good ones?

AMY

I think so.

MARIA

Did anyone see you?

AMY

I don't think so.

Maria gives her mom a thumbs up and Amy walks away. Maria continues dancing with Michael. As the song ends, Mr. Seligman gets on the microphone on stage to make an announcement.

SELIGMAN

Before The ...

(consults his notes)

Alienettes play the last song of the evening, I'd like to thank everyone for coming. I'd say it's been a pretty successful evening, wouldn't you?

There are cheers and applause from the students.

SELIGMAN (cont'd)

And I think the dance committee deserves a round of applause for all their hard work.

More cheers and applause from the students. Elana and Vanessa are eating it up and anticipating the announcement of the award.

SELIGMAN (cont'd)

And The Alienettes for the ... um ... wonderful job they did.

Slightly less enthusiastic applause.

SELIGMAN (cont'd)

So thanks once again and enjoy the last dance.

He hands the mike back to the lead singer of the band and turns to leave the stage. Elana and Vanessa look alarmed. Elana calls up to Seligman.

ELANA

What about my award?

VANESSA

(to Elana)

Your award? Don't you mean my award?

SELIGMAN

(turning back, confused)

I'm sorry, to what award are you referring?

ELANA

The Dance Committee Award, of course.

There are murmurs of puzzlement from the other students.

SELIGMAN

(to Elana and Vanessa)

There isn't an award for dance committee members.

This causes some snickering from the other students.

VOICE #1 FROM AUDIENCE

They want an award for bossing everyone around for months?

VOICE #2 FROM AUDIENCE

They don't even do these things because they care--it's just for their college applications.

VOICE #3 FROM AUDIENCE

Jeez, you two are a piece of work.

VANESSA

(derisively)

Work? Like you would even know the meaning of the word.

ELANA

Right! After all the work--

VOICE #4 FROM AUDIENCE

(interrupting)

Get over yourselves.

SELIGMAN

OK, OK, that's enough. Elana and Vanessa did put a lot of work into making this dance successful ...

Elana and Vanessa look smugly triumphant.

SELIGMAN (cont'd)

... but if any of you have a complaint about their methods, see me Monday during 3rd period.

Elana and Vanessa look aghast that he would even consider listening to the rabble. Chris, Marcos and Nicky, are in the audience nodding approval. Seligman motions to the lead singer to begin the last song and leaves the stage. Some students start gathering their things to leave, others head for the refreshment table, some to the restrooms, and others head for the dance floor for the last dance. Max and Liz and Alex and Isabel are among those on the dance floor. It's a slow dance. Neither Michael nor Vicky are anywhere to be seen. Kyle is at the refreshment table, munching on some chips. Maria is scanning the floor looking for someone. She spots Kyle and heads for the refreshment table.

MARIA

Have you seen Michael?

KYLE

I think I saw him head for the restroom.

Disappointed, Maria sighs and leans against the table.

MARIA

(to herself)

You should have known he wouldn't be around for the last dance.

The camera pans over to Valenti and Amy at one of the tables. Valenti gets up and extends his hand to Amy.

VALENTI

May I have this dance?

AMY

(slightly flustered)

Do you think we should? I mean we're supposed to be chaperoning.

VALENTI

I don't see any harm in doing the last bit of chaperoning from the dance floor, do you?

Amy smiles and takes his hand, letting him lead her to the dance floor. They begin to dance, forgetting about watching the students as they gaze deep into each other's eyes. The camera pulls back to reveal Kyle and Maria's reactions as they watch from the refreshment table--their eyes widening in shock. Valenti leans in for a kiss and Amy responds in kind.

MARIA

(horrified)

Oh my God! They're going public!

KYLE

(indignant)

Could they at least take it to the Eraser Room?

Cut to:

		42	EXT. EVANS HOME - FRONT YARD - LATER

Isabel and Alex are walking slowly, hand in hand, towards her front door. They keep their voices low.

ISABEL

So, did the dress give it away?

ALEX

This one only confirmed my suspicions; it was the first one that gave it away.

ISABEL

The first one?

ALEX

The one you wore to the rave in February, which was right after the dream I had of you and me dancing. You told me you knew I liked you in red, you knew how I felt about you, that I didn't want to maul you, that I could be trusted ... But we had never really spoken before that day, and I never told anyone else how I felt about you, so I often wondered how you knew those things. When you revealed that you could visit people in their dreams it suddenly all made sense.

ISABEL

Why didn't you say anything before now?

ALEX

I was waiting for you to say something. I figured when you wore almost the exact same dress tonight as in my dream, it was your way of telling me you had dreamwalked me.

ISABEL

(teasing nervously)

You're very astute, Dr. Freud.

(beat, seriously)

I should have told you, openly.

ALEX

(quietly)

Yeah.

ISABEL

Keeping secrets is what I do. I have to.

ALEX

I know.

ISABEL

Are you mad at me?

ALEX

Was that the only time?

ISABEL

Yes, I swear ... and I only did it then because we didn't know you and if you could be trusted.

ALEX

And you won't do it again ... at least not without permission?

ISABEL

No, I promise.

They have reached her front door. Alex is looking at Isabel as though she is the most beautiful thing he ever saw.

ALEX

Then how can I be mad?

They kiss. Lightly at first, then more passionately.

Cut to:

		43	INT. CRASHDOWN - BACK ROOM - SAME

The lights are dim. Max and Liz are at the bottom of the stairs leading to her apartment, saying goodnight. They are holding each other close, looking into each other's eyes. They keep their voices low, almost whispering.

MAX

Thank you for the most amazing evening.

LIZ

You're welcome. And thank you too.

She cups his face with her hands and draws him into a kiss that builds from gentle to passionate, but then is interrupted by a voice from upstairs.

JEFF (OS)

Liz ... it's getting late.

They stop kissing and embrace.

LIZ

Sorry.

MAX

No, he's right. It is late. I should go.

He doesn't move.

MAX (cont'd)

I wish it didn't have to end.

LIZ

It doesn't have to.

MAX

Oh, riiiight.

(nuzzling her neck)

So, half hour from now, we'll meet in your dreams.

The nuzzling tickles, so Liz giggles. She steps back slightly to look at him.

LIZ

(gentle reminder)

My dad could come down any minute.

MAX

Right, I'll be good.

Liz points towards the swinging door to indicate they should move to the main dining area, which they do, holding hands, and talking as they walk towards their favorite booth.

LIZ

(serious)

You know, I've been thinking a lot about dreamwalks lately. Like why you and Isabel haven't been able to dreamwalk this Desert Man.

MAX

Could be any number of reasons. Isabel thinks that if he is an alien shapeshifter, maybe the picture didn't work because it's not a true representation of him.

LIZ

That's a good point, but other factors could be involved. We just don't know enough about it.

Liz slides into the booth and Max slides next to her.

LIZ (cont'd)

I'm still not sure I understand how you can dreamwalk me when I'm not asleep.

MAX

I'm not really sure either. I asked Isabel about it and she didn't have a clue so Michael and I gave her permission to dreamwalk us while we were awake.

LIZ

And?

MAX

She got in, but not with the same ... clarity that we seem to have.

LIZ

Hmm, I wonder if that's significant.

MAX

(smiles)

I can practically see the wheels turning in your head. You really want to figure this out, don't you?

LIZ

(smiling back)

Just naturally curious; I guess it's the scientist in me.

MAX

OK, Dr. Parker, let's examine the evidence.

LIZ

Right. The first time you dreamwalked me I was asleep and I was dreaming, so I wasn't really sure if you were part of my dream or not ... but the second time, and all the times after, I've been awake, although in a sort of meditative state.

MAX

And the second time I wasn't even trying to dreamwalk you. I mean, I promised I would "knock" first and I didn't realize I could do it without Isabel's help. All I did was hold your picture in my hand ...

(he cups her face in his hands)

... and I was concentrating so hard on being with you ... then suddenly I was, but it was almost like a dream.

LIZ

(cupping his face with her hands)

And I was doing the exact same thing at the exact same time and suddenly I was with you ... almost as if you had pulled me into your dream.

MAX

(stroking her cheek)

Yeah, except it's not really a dream because we are aware of where we are but it is like a dream because we don't seem to have any control over what we see.

Their foreheads touch as they contemplate this. Suddenly something dawns on Max and he sits up straight, places his hands on Liz's shoulders and looks at her earnestly.

MAX (cont'd)

I just realized we have something else to add to the mix.

LIZ

What?

MAX

Tonight, at the dance. We shared a flash. You seemed to know what I saw.

LIZ

(wide-eyed)

I did; I saw it with you. That's never happened before.

MAX

What do you suppose that means?

LIZ

(mulling)

Not sure. I think we need to collect more data before making a hypothesis.

MAX

(smiling mischievously)

So as I was saying earlier, shall we meet in your dreams tonight?

LIZ

(smiling back)

Yes, let's.

Cut to:

		44	INT. MAX EVANS'S BEDROOM - MORNING

Max is dressed and is just finishing making his bed. He hears a tapping on his window. He goes to the window, opens it, and helps Liz climb through.

MAX

(smiling)

Morning.

LIZ

(smiling back)

Morning.

MAX

What a great way to start the day.

LIZ

I agree.

MAX

What would you like to do this morning?

Before she can answer, Isabel opens his door without knocking and enters. She's carrying the sketch of the Desert Man.

ISABEL

Max, I'd like to--

Isabel stops short when she sees Liz. She looks from Liz to Max to Max's partially made bed back to Liz.

ISABEL (cont'd)

(suspiciously)

Good morning, Liz.

LIZ

(hurriedly pointing to the window)

I just arrived. Max and I thought we'd hang out this morning before we have to go to work.

ISABEL

Oh, sorry to interrupt.

MAX

You're not interrupting. We don't have anything special planned. What did you want to talk about?

ISABEL

(holding out the sketch)

I just wanted to give this another try.

LIZ

Apparently we are all on the same wavelength.

MAX

Yes, Liz and I were just discussing last night about what might be preventing us from getting in.

LIZ

We did another dreamwalk together, to collect more data ...

(eyes lighting up with excitement)

but if I could observe you two that would be even more helpful.

(beat)

It won't bother you if I'm here, will it?

ISABEL

No, of course not. Considering our lack of success, I'm willing to try anything.

Max quickly finishes making his bed then he and Isabel sit at the edge of it. Liz sits cross-legged in the middle of the bed facing them. Isabel puts her hand on the drawing. Max does the same. They hold hands with their free hand, close their eyes and concentrate.

Cut to:

		45	INT. MICHAEL GUERIN'S APARTMENT - SAME

Maria, wearing her Crashdown uniform, is waiting for Michael to finish in the bathroom. She's standing in the living room, casually looking over the paltry items Michael has decorating his apartment (a few Metallica posters, etc) as she talks to him through the door.

MARIA

So I was talking to my mom when I got home last night and she agrees that we taught Elana and Vanessa a lesson they'll never forget!

Michael, wearing his Crashdown T-shirt, opens the bathroom door, exits and walks towards Maria.

MICHAEL

I don't doubt that for a minute.

He comes over and gives her a hug from behind.

MARIA

(smiling, then contemplatively)

You know, Michael, you really should get more things to personalize your apartment ... maybe some art for the walls instead of just posters, a few plants--

Maria stiffens slightly then steps away from Michael's hug and starts searching his apartment.

MARIA (cont'd)

Michael, what happened to the plant I gave you?

MICHAEL

(crestfallen)

Oh. I was hoping you wouldn't notice.

Michael goes behind the curtain that divides his bedroom from the living room then returns with a plant--the same plant that he accidentally exploded in "The Witness". Its pot has been seamlessly mended but the plant itself has not fully recovered from the shock and looks pathetic. Maria's mouth drops open. He places the plant on the counter and walks back towards her.

MARIA

What!? I don't believe it! I just gave you this plant a few weeks ago and already it's dying.

MICHAEL

This is the reason I broke up with you.

MARIA

(incredulous)

Because I gave you a plant?

MICHAEL

No, because I nearly killed it.

Michael raises his arm, about to demonstrate, but she doesn't realize what he is about to do and keeps talking.

MARIA

(sympathetically)

Michael, just because you don't have a green thumb--no pun intended--

The pot explodes and Maria lets out a startled scream. She stares at the shattered pot and uprooted plant, dumbfounded.

MICHAEL

That's what I'm talking about. I have the ability to destroy things and I don't know how to control it ...

Maria is still a little bit shaken but trying to remain calm and supportive. She takes his hand in hers.

MARIA

You can learn control ... I'll help you.

MICHAEL

That's what Max said ... but I'm not so sure.

MARIA

Then I'll be sure for you. We'll all help--

(beat)

Why haven't you told the others? You had the perfect opportunity on Friday.

MICHAEL

(walks away, nervous)

Because I don't want anyone getting hurt while I learn how to control it.

(turns towards her)

Especially you. I mean ... I can't even be trusted with a plant.

Maria walks towards Michael and puts her arms around him.

MARIA

(smiling)

I'm not a defenseless plant. I can take care of myself.

MICHAEL

(looking at her with admiration)

I don't doubt that for a minute.

They kiss.

Cut to:

		46	INT. MAX EVANS'S BEDROOM - CONTINUOUS

Max and Isabel are still concentrating. Liz is watching them intently, as if she is vicariously concentrating with them. Max and Isabel start to frown; it's obvious that no connection is being made. Liz seeing Max's look of disappointment places her hand on his in support and suddenly they are all in. All three feel as if they have been sucked into a vortex. Dark and disturbing images are whirling around; among them is Hank in a shallow grave with dirt being shoveled onto his face, another is of the Desert Man, in a military uniform, looking frightened, and someone's hand is on his chest. The images are so frightening that almost as soon as they got in, they break the connection. They sit there, wide-eyed and in shock.

Cut to:

		47	EXT. LIZ PARKER'S BALCONY - DAY

Liz is on her lounge writing in her journal.

LIZ (VO)

Disturbing doesn't even begin to describe how it felt.

Cut to:

		48	INT. ISABEL EVANS'S BEDROOM - SAME

Isabel is sitting on her bed, knees up against her chest, her arms around her legs, and she's rocking slightly as if to comfort herself. She looks distraught.

LIZ (VO) (cont'd)

It's been four hours and I'm still shaking.

Cut to:

		49	INT. MAX EVANS'S BEDROOM - SAME

Max is lying on his bed, looking up at the ceiling, rolling one of his healing stones in his hand like a worry stone.

LIZ (VO) (cont'd)

I don't know how we are going to tell the others that Nasedo may not be the solution, but instead the problem.

Cut to:

		50	INT. MICHAEL GUERIN'S APARTMENT - NIGHT

Max, Liz, Michael, Maria, Isabel, and Alex are all there sitting on the couch and arm chair. Maria is the first to break the stunned silence.

MARIA

(very quietly)

I guess we can stop looking for Hank.

ISABEL

Yeah.

MICHAEL

(to Max)

Did you see anyone else besides Hank and the Desert Man?

MAX

(shaking his head)

No. It was mostly just feelings ... a confusing jumble of despair, anger, loneliness ...

LIZ

It all happened so fast. We were only in for a second--

MICHAEL

(interrupting; confused)

We? You were in the dreamwalk?

LIZ

(sadly)

I accidentally hitched a ride.

(pause)

ALEX

So are we all in agreement here?

ISABEL

Agreement?

ALEX

That Nasedo doesn't sound like anyone we want to meet?

MARIA

(raising her hand)

You got my vote.

Cut to:

		51	EXT. WEST ROSWELL HIGH SCHOOL - QUAD - DAY

Wide angle view. Isabel is seated at a table with Alex; we do not hear their conversation. Alex collects his stuff, gives Isabel a quick kiss and leaves. Kyle, passing by, stops to say hi to Isabel; again, we don't hear their conversation. In the background the new girl is making the rounds at the various tables, introducing herself, shaking hands and moving on. Max and Liz are at another table. The camera focuses on them. We join them in mid-conversation. Their voices are low.

MAX

I've been thinking a lot about what you said. I don't think it was an accidental hitchhike.

LIZ

I swear, Max, I wasn't trying to intrude--

MAX

No, that's not what I meant. Isabel and I weren't having any luck getting in this time either, but the second you touched my hand ... I don't think you hitchhiked, I think you were driving.

Liz looks stunned. The camera switches to a wide-angle view. Elana and Vanessa enter the quad, spot Isabel and Kyle and head towards them in a hurry. The camera follows them. Kyle starts to leave, but they cut off his exit, glaring at him, with their arms crossed.

ELANA

Just what did you mean?

KYLE

(all innocence)

Mean?

VANESSA

When you said we should be nicer to "the little folk" or we wouldn't win.

ELANA

Yeah, win what?

KYLE

(enjoying the moment)

The admiration of your peers.

He walks away with a self-satisfied smirk, leaving them with dropped jaws. Isabel has been listening to the conversation. She goes into ice princess mode.

ISABEL

Ladies. The slack jaw look ... not pretty.

They quickly close their mouths. The new girl comes up behind them and taps Vanessa on the shoulder. She spins around angrily and is caught by surprise.

VANESSA

Who are you?

NEW GIRL

(unaffected; holding out her hand)

Hello. My name is Tess Harding.

She reaches out to shake hands. At first glance, Elana and Vanessa are impressed by her pretty face and respond in kind, but as they shake hands they give her the once over, taking in her less than fashionable (to them) style of dress, and their demeanor changes to disdain.

TESS(cont'd)

I'm new at this school.

ELANA

You're also in our way.

VANESSA

(gesturing to Tess to move)

Do you mind?

TESS

Oh, sorry.

Tess steps out of their way and they brush past her. Her face reflects her hurt feelings, but she recovers quickly when she notices Isabel. Isabel was observing the exchange and is looking strangely at Tess.

TESS

(holding out her hand to Isabel)

Hello. My name is Tess Harding. I'm new at this school.

Isabel looks at Tess's outstretched hand then slowly takes it. Tess's eyes fill with wonder; she takes Isabel's hand in both of hers, sits across from her, and stares into her eyes. There are flashes of young Isabel emerging from her pod and of her and young Max alone in the desert as the car approaches. Tess starts beaming. Isabel gets a flash of a white sun in a yellow sky--she is speechless and looks alarmed, as if the wind has been knocked out of her. Finally she gathers her wits and slowly disengages her hand from Tess's. Tess is watching her, expectantly. Isabel is so shocked she can barely catch her breath. Finally she regains her composure and gets up the courage to ask the question burning in her mind.

ISABEL

Nasedo?

TESS

No, but I can take you to him.

The camera focuses on Tess's bright smile as we fade out.

To be continued ...

END OF ACT IV

Potential solace for anyone who experiences distress at the very sight of the name "Tess".

Roll Credits

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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.