"Take Me To Your Leader"
(Episode #201)

Story By
Joan Pickering with Erica Cavin

Written By
Joan Pickering
with
Erica Cavin

Beta Tester Draft	08/24/05
Final Draft	09/23/05
Posted	09/28/05

TEASER

		1	EXT. WEST ROSWELL HIGH SCHOOL - QUAD - DAY

Tess is in a secluded part of the quad, on a cell phone. She is pacing back and forth. Her body language and facial expression indicates she is confused, agitated, and hurt.

TESS

I don't understand ... why wouldn't she jump at the chance? Why isn't she as excited as I am ... we are? What did I do wrong?

MALE VOICE (ON PHONE)

What did she say?

Cut to:

		2	INT. WEST ROSWELL HIGH SCHOOL - EMPTY CLASSROOM - SAME

Max, Michael, Isabel, Liz, Maria, and Alex are at the front of the empty classroom. Alex, Maria, and Michael are seated at some desks, Max and Liz are leaning against the teacher's desk, and Isabel is pacing between them. Her body language indicates that she too is agitated.

ISABEL

"I'll get back to you." Never in a million years would I have dreamed that that would be my response when meeting the one person in the world who can answer the questions that have haunted me my whole life!

MICHAEL

(rising from his chair and leaning on his desk)

"My whole life"? Don't you mean our whole lives? Especially since you were speaking for all of us when you said "I'll get back to you".

ISABEL

(irritated)

I'm sorry, Michael. It all came as a shock; I didn't know what to say. And it's not as if we can't go back and say "Take us to your leader." It doesn't look like she's going anywhere soon.

Alex gets up and puts his arm around Isabel. She leans on him. Max steps in before tempers start to flare.

MAX

Look, you're both right. This does affect all of us, so it's a good thing Isabel bought us some time so we can come to a decision together.

MICHAEL

What's there to decide? After waiting for answers for ten years this is no time to form a committee. We should be running after Tess right now.

LIZ

Running where? Into a trap? How do you know you can trust Nasedo, especially after our dreamwalk?

A look of frustration crosses Michael's face. Isabel looks scared. Alex jumps in to the conversation.

ALEX

Before anyone runs anywhere, you better hear what I found out about our Desert Man.

They all look at Alex expectantly.

ALEX (cont'd)

His name is Lt. Alejandro Gomez, he worked at the Eagle Rock military base, and he was in charge of something called ... Operation Pohlman Ranch.

He pauses as everyone reacts to the name.

ISABEL

Pohlman Ranch!? Our Pohlman Ranch?

ALEX

I suspect so, but the Pohlman Ranch file is encrypted so I can't say for sure what the operation is.

MICHAEL

No, but we can all make a pretty good guess.

They all solemnly nod their agreement.

MARIA

Any more good news?

ALEX

More news, none of it good. He's dead. As of January 16, 2000.

ISABEL

Isn't that just before the Whirlwind symbol was set off in Frazier Woods?

MAX

Three days before.

MICHAEL

OK, I'm not buying that as a coincidence.

MAX

Me neither.

ISABEL

How did he die?

ALEX

Undetermined ... but a sergeant went missing the same day, so they suspect foul play.

LIZ

(worried)

Is anyone else noticing a pattern?

MARIA

(shaken)

Yeah ... it seems every time we learn something about this guy it involves ... death.

LIZ

(addressing Max, Isabel, and Michael)

You might want to think twice before walking up and introducing yourself.

MAX

I agree.

MICHAEL

(exasperated)

Don't tell me, let me guess. You want us to act like nothing has happened; to behave normally, or at least our version of normal.

MAX

It's worked for us so far.

(before Michael can respond)

We need to learn as much as we can about them--their strengths and weaknesses. Isabel, when you made contact did you sense anything about Tess's abilities?

ISABEL

It didn't feel like Tess is some super-being. Besides, she's been going to school with us all this time and didn't know who I was until she shook my hand. She apparently has at least some of the same limitations as we do ... and there's three of us.

ALEX

(worried)

Except she has Nasedo on her side, so they may be stronger than you.

MARIA

(thoughtfully)

Does she? Have Nasedo on her side?

(to Isabel)

Why did Tess need to shake hands with you?

ISABEL

I guess to get a connection, to see if I was ... you know ... not human.

LIZ

(following Maria's thought)

But if she knows Nasedo, and Nasedo has been following you guys ...

MAX

(finishing thought)

Why didn't she already know?

MICHAEL

Maybe it was just to confirm what they sensed.

ISABEL

(remembering)

But she was shaking everyone's hand, not just mine.

MARIA

So why would Nasedo keep what he knew from her?

MAX

Unless she's working independently and only knows of Nasedo.

LIZ

(finishing his thought)

And just said she could introduce him to Isabel to make her trust her.

MICHAEL

(half-heartedly and with a touch of sarcasm)

You know, we could end all this speculation if we just ask Tess.

MAX

And how do we know we can trust what she says? We need more information before approaching them. Isabel bought us time. I think we should use it.

MICHAEL

To do what? Have Alex google Nasedo and Tess for us?

MAX

(smiles slightly)

In a manner of speaking. Tess told Isabel that she's new here, which means she must be enrolled.

(to Alex)

Do you think you can access her records?

ALEX

Piece of cake.

MAX

Isabel, I think you should stay away from Tess. She might try to gain more information from you by contact.

Isabel nods.

LIZ

You and Michael should avoid her too.

(at Michael's scowl)

If she senses you two, she'll try to make contact.

MAX

Good point.

MARIA

Liz and I can pump her for information.

ISABEL

How will you do that without raising her suspicions?

LIZ

(reassuringly)

We'll think of something. What does Tess look like?

ISABEL

(gesturing with her hand)

She's about so high ... , blonde, pretty ...

Cut to:

		3	EXT. WEST ROSWELL HIGH SCHOOL - QUAD - CONTINUOUS

Tess is still on the phone.

TESS

Maybe I'll have better luck with the others. I know she knows at least one of them so there's a good chance he's here too. I'll keep looking.

MALE VOICE (ON PHONE)

Be careful.

TESS

I know, I will.

She hangs up.

END OF TEASER
ACT I

		4	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - DAY

Michael is walking alone. He seems preoccupied, annoyed, not looking where he's going. He looks up and realizes he's near the exit to the quad. He stops and stares at it as if contemplating using it, then his expression changes, as if he senses something. He half turns, sees something out of camera range, then he whirls around. The camera angle changes to reveal Isabel standing behind him.

MICHAEL

What? Are you keeping tabs on me?

ISABEL

No, but maybe I should be.

MICHAEL

(irritated)

Why?

ISABEL

Because you're breaking our mutual agreement of avoiding Tess already.

MICHAEL

(still irritated)

How did I do that?

ISABEL

I could tell you sensed someone behind you and you just turned around without any consideration as to who it might be. What if it had been Tess, or was that what you were hoping?

MICHAEL

(matter-of-factly)

I knew it was you.

ISABEL

(astonished)

How?

Michael points to a trophy case near them; she sees her reflection in the glass.

ISABEL

Oh.

MICHAEL

So, why are you following me?

ISABEL

We need to talk.

MICHAEL

About?

ISABEL

(hesitantly)

About ... what happened to us ... during your dance lesson.

The expression on Michael's face makes it very clear this is not a topic he wants to discuss.

MICHAEL

(adamantly)

You didn't say anything to Max about that, did you?

ISABEL

Of course not, but ...

MICHAEL

(interrupting)

Good, let's keep it that way.

Michael walks off and Isabel rushes to catch up.

ISABEL

Look, I understand how you feel. I feel the same way. Those were very private thoughts and I don't want them shared with anyone.

MICHAEL

Then why are we having this conversation?

ISABEL

You know why. What happened was obviously ... Roswellian. Max has a right to know.

(at Michael's panicked look)

Not the specifics, just the parameters.

(as Michael relaxes a bit)

We really should have brought it up when Max showed us all his shield power.

MICHAEL

(emphatically)

No. I don't want to discuss this at a group meeting. Just Max.

Cut to:

		5	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - SAME

Max, Liz, and Maria are walking down the hallway towards Liz's locker. They are super-aware of their surroundings, as if expecting Tess to pop out of nowhere any second.

LIZ

(hurriedly)

I just need to stop at my locker for my corsage.

MAX

(quizzically)

You're bringing your corsage to art class?

LIZ

We're learning how to preserve things, so I thought I'd do my corsage.

(looks coyly at Max)

That way I can preserve a piece of that memorable night.

Max smiles. Liz works the combination on her locker as Max and Maria scan passersby.

MARIA

(heavy sigh)

I guess that means my mom will be preserving a Valenti moment forever.

MAX

Valenti?

MARIA

My mom asked me to preserve a rose from a flower arrangement she got from him.

(at Max's concerned look)

Don't worry, I checked the arrangement for bugs ... both kinds.

MAX

Good thinking.

LIZ

What's this?

Liz has opened her locker and noticed something new in it--a package with a silver ribbon--which she opens to find an assortment of pens, some regular, some metallic, each with her name on it. She turns to Max and smiles.

LIZ (cont'd)

Thank you.

MAX

You're welcome. You mentioned last night that your pens kept disappearing. I figured with your name on them, they would find their way back to you.

MARIA

(incredulous)

Last night?

(seriously, to Max)

If you gave boyfriend lessons you could make a fortune.

Max smiles.

MARIA (con'td)

(to Liz)

So does he often leave things for you in your locker?

LIZ

Sometimes.

(to Max)

But it's unfair.

MAX

(surprised)

Unfair?

LIZ

I can't surprise you that way.

MAX

Wait, I have an idea.

He turns away for a minute, then turns back and presses her hand between both of his. He closes his eyes and concentrates, then lets go of her hand.

MAX (cont'd)

Now you have the power to open my locker.

The silver ribbon, with something written on it, is in her hand.

MARIA

(to Max)

Your locker combination.

MAX

Right.

Liz smiles.

Cut to:

		6	INT. WEST ROSWELL HIGH SCHOOL - CLASSROOM - CONTINUOUS

Students are entering a math class and Tess is talking to the teacher, who points to a seat she can take. Tess sits in the seat and scans the classroom. Kyle enters the room and spies her. He rushes over to sit in the seat next to her. She glances up and smiles politely.

KYLE

You're new here, right?

TESS

Yes, I just started last week.

Kyle gives her a charming smile and extends his hand.

KYLE

Kyle Valenti, pleased to meet you.

Tess continues to smile politely and extends her hand to take his.

TESS

Tess Harding.

When their hands meet, Tess's expression changes to astonishment. Kyle smiles devilishly, slowly reaches out and caresses her face with his left hand. Suddenly, he stands and approaches her, bending down to kiss her gently on the lips, as he lifts her to her feet. The kisses become more passionate--ravenous even. He picks her up into his arms; she wraps her legs around his waist, her short skirt riding up to a dangerous level. They can't get enough of one another. Kyle walks her over to the teacher's desk and lays Tess upon it, then climbs on top of her, as the teacher and the entire class, look on in shock and amusement. In between passionate kisses, he calls her name softly.

KYLE

Tess.

(beat)

Tess.

(loudly)

Earth to Tess!

TESS

(breaking from her reverie)

What? What did you say?

KYLE

Sorry, you just seemed spaced out there for a moment.

Tess blushes from embarrassment.

TESS

(flustered)

Oh...um...yeah... I guess I did zone out. Can't imagine why.

Peter Gulla, a skanky-looking guy, appears behind Kyle.

PETER

(annoyed)

Valenti, what are you doing in my seat?

KYLE

Sorry, Gulla, I was just keeping your seat warm.

(to Tess)

I'll be seeing you around.

TESS

(still flustered)

Around what?

Mystified, Kyle shakes his head and mutters to himself as he leaves to go to his own seat.

KYLE

Paulie's right...a little "strange."

PETER

(to Tess)

Hi ya, sweetie. Would you like me to keep "your" seat warm?

Tess, who has collected herself again, gives him a quick once over and does not like what she sees. It shows on her face.

TESS

(matter-of-factly)

The probability of my being attracted to you is 1,496,452 to 1. What do you think my answer is?

Peter's mouth drops open. Some nearby students razz Peter for Tess's put-down. The camera pulls back to show that Kyle witnessed this exchange with amusement and admiration.

Cut to:

		7	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - SAME

Liz and Maria approach the art classroom; Maria is now holding a rose. Vicky and another classmate, Wendy are standing outside the classroom talking before class begins. Vicky and Wendy are also holding their Spring Blast-Off corsages. Liz and Maria enter the classroom, passing Vicky and Wendy who notice that Maria is not bringing a corsage to class. Michael is walking down the hallway from the other direction. He gets within earshot just as Wendy leans in towards Vicky.

WENDY

Poor Maria.

Michael stops short and listens without their knowledge.

VICKY

Well, that's what you get when you date a fixer-upper like Michael Guerin. I mean, even Kyle knew enough to get me a corsage.

Michael stiffens, then turns on his heel and walks back in the direction he came from. He is not within earshot of the rest of their conversation.

WENDY

But didn't Michael look awesome on Saturday!?

VICKY

Oh, yeah ... he sure cleans up good. Can you say YUM!

Both girls get into a gigglefest as they walk into class.

Cut to:

		8	EXT. WEST ROSWELL HIGH SCHOOL - FRONT ENTRANCE - DAY

Isabel is standing on the sidewalk, as if waiting for someone. Max approaches her.

MAX

Do you need a lift somewhere? I don't have to be at work for an hour, so I could drop you off.

ISABEL

No, Mom's picking me up. I promised I would spend the day with her. We're going shopping then to the sanitarium. I know, bad timing since we should be dealing with this Tess situation, but I don't want Mom to get suspicious.

MAX

I agree. We don't need Mom asking questions.

Isabel looks perturbed by Max's statement, but Diane pulls up in her car before Isabel can reply. Isabel gets into the passenger seat. Max leans down to wave to his mom.

MAX

(smiling)

Have fun you two.

DIANE

(waving and smiling back)

We will.

Diane drives off and Max watches them pull out of the driveway. As he's watching he notices another car pull out a couple of cars behind them, driven by a blonde girl--Tess. Max rushes to his Jeep and peels off after them as quickly as he can. At the same time he's fumbling for his cell phone, dialing as he drives.

Cut to:

		9	INT. DIANE EVANS'S CAR - CONTINUOUS

Diane is driving down North Main Street. Isabel's cell phone is ringing and Isabel answers it.

MAX (VO)

Don't panic, but I think you're being followed.

ISABEL

(panic in her voice)

What!

Diane glances at Isabel, concerned. Isabel glances at the side mirror, equally concerned.

MAX (VO)

I said don't panic.

ISABEL

(now more irritated than panicky)

It's a little hard not to when you start a conversation like that.

DIANE

Is everything OK?

ISABEL

(to Diane; feigning calm)

Huh? Oh, yeah. Just an extra credit assignment gone awry.

(into phone)

Are you sure!?

Isabel lowers the visor and pretends to primp in the vanity mirror as she scans the cars behind them.

MAX (VO)

No, that's why I said "don't panic". A pretty, blonde girl I've never seen at the school before pulled out of the driveway behind you and Mom. Just remain calm, if it's Tess she's probably just doing reconnaissance like us. I'm about four cars behind her. I won't let anything happen to ... Uh oh.

ISABEL

(panic returning)

Uh oh?

Cut to:

		10	EXT. ROSWELL STREET - NORTH MAIN STREET - CONTINUOUS

Max's POV. Diane is stopped at a red light, waiting to make a left turn into the mall parking lot. Tess does not follow Diane into the left turn lane, but continues through the intersection on her green light. Max tries to follow her, but the car in front of him stops when their light turns red. The left turn lane light turns green and Diane continues to the mall parking lot. Camera angle switches to include Max in Jeep on phone.

MAX (cont'd)

I may have overreacted a bit.

Tess pulls into the Post Office parking lot on the opposite side of the street from the mall.

MAX (cont'd)

It seems she's just going to the Post Office.

ISABEL (VO)

(choosing her words carefully)

Are you gonna ... pursue this?

MAX

(contemplates this for a moment)

No, I better not. I'm too exposed in the Jeep.

Max's light turns green and he drives forward, passing the Post Office.

MAX (cont'd)

I'm sure you're fine. I'm just gonna head for work.

ISABEL (VO)

Listen, speaking of work, I know you can't answer your cell phone when you're with a customer and I can't if I'm with a patient, so we'll discuss this more later tonight. Bye.

There's a click indicating Isabel has hung up her phone. Max does the same and continues driving. The camera comes back to the Post Office. Tess exits it, putting stamps in her purse as she heads for her car. She gets in and drives out the other driveway, the one that will allow her to drive across North Main Street and into the mall parking lot, which she does as soon as her light turns green.

Cut to commercial.

END OF ACT I
ACT II

		11	EXT. CHAVES COUNTY SANITARIUM - NIGHT

Establishing shot of the sign at the entrance.

Cut to:

		12	INT. CHAVES COUNTY SANITARIUM - CONTINUOUS

Diane and Isabel are walking down a hallway. There are some patients sitting in wheelchairs in the hallway, talking incoherently to themselves. Isabel looks at them with unease. As they pass the visitors' room, Isabel glances in and sees Sheriff Valenti and Amy DeLuca visiting Jim Valenti Sr. Isabel gives a little start upon seeing the sheriff and then quickens her pace past the visitors' room. A female patient in a wheelchair blocks Isabel's path and Isabel, still looking in the direction of the visitors' room, walks right into the wheelchair.

ISABEL

Oh! I'm so sorry!

PATIENT

(staring at Isabel strangely)

You! You're not right! Why are you here?

ISABEL

(confused and shaken)

Excuse me?

PATIENT

You're not my mother. You have blonde hair, but it's a trick. Where's my mother?

A nurse comes over and calms down the agitated patient. Isabel and Diane continue down the hallway to a door marked Storeroom. Diane unlocks and opens the door and they both enter. The camera follows them in. Diane starts collecting things from the shelves and placing them on a cart in the storeroom.

ISABEL

(with trepidation)

I didn't think this was a mental institution.

DIANE

No, it's a sanitarium. There are some alzheimer patients here, but it's mainly for recuperation and rehabilitation. We'll be helping stroke victims--those who have lost the ability to communicate verbally, either by writing or speaking.

(points to the items on the cart)

We use these books, magazines, puzzles, and visual aids to help stimulate their minds in the hopes of getting them to communicate in some way again. The more you read, to them, talk to them, etc. the better their chances.

ISABEL

Doesn't the staff read and talk to them?

DIANE

They do but it can take a lot of time to bring language back to patients who have suffered strokes and such. These institutions don't have the resources to devote that much time.

ISABEL

(looking at her mother with admiration)

I had no idea how important your volunteer work was.

DIANE

(modestly)

I just try to help.

Isabel starts helping Diane load the cart.

DIANE (cont'd)

And it helps me put to use all those psychology courses I took in college.

(beat)

ISABEL

(hesitantly; thinking as she speaks)

Speaking of psychology courses ... I'm um ... doing this report ... for school ... about heredity ... and I was wondering ... have there been any studies on whether mental illness is genetic?

Concerned, Diane reaches out and touches Isabel's arm in support.

DIANE

Honey, is this about not knowing who your biological parents are? Not knowing what you might have inherited from them?

ISABEL

(embarrassed; avoiding eye contact)

No , no ... it's for school.

(glances at Diane for reassurance)

But ... if there was someone who was ... mentally ill ... in my biological family ... do you think ...?

DIANE

No, no, honey ... there have been studies, but no proof ... besides you and Max are amazingly healthy; you never even get sick. If you've inherited anything it's really good genes.

ISABEL

(laughs lightly)

You're right. There's no need to worry.

DIANE

And they are doing amazing things with DNA and gene research these days. They can discover all kinds of things with a simple blood test ...

Isabel grabs the handle of the cart and steers it out of the storeroom, as she steers the conversation in another direction.

ISABEL

Let's not keep those patients waiting.

(softly, almost to herself)

I'm sure they have lots of stuff locked up inside, waiting for someone to come by with a key.

As they wheel the cart down the hallway to the patients' rooms, we sense that someone may be watching them.

Cut to:

		13	INT. ALEX WHITMAN'S BEDROOM - CONTINUOUS

Alex is at his computer, typing on the keyboard. We do not see the monitor. His brow is furrowed in frustration.

ALEX

(under his breath)

Piece of cake ... yeah, right.

He stops typing, picks up his phone, and presses a speed dial number. We hear the phone on the other end ringing, then a click.

ISABEL (VO)

Sorry I missed your call--

Alex disconnects the call and punches in another number. Again we hear the phone on the other end ringing, then a click.

MAX (VO)

I'm sorry I miss--

Once again Alex disconnects the call, but this time he hesitates before punching in another number. He seems to be debating with himself, then he finally relents and makes the call. The phone on the other end rings, then clicks.

MICHAEL (VO)

Hello?

ALEX

Hi. It's Alex.

MICHAEL (VO)

What's up?

ALEX

I can't believe I'm saying this, but I need your lock-picking skills.

Cut to:

		14	EXT. DE LUCA HOME - FRONT DOOR - LATER

Valenti and Amy are standing by her front door, saying goodnight.

VALENTI

I really appreciate you coming with me tonight.

AMY

I'm glad I could be there for you.

VALENTI

He was so much more animated than normal. Usually the conversations are much more one-sided, but he really responded to you.

Amy leans closer too him, her head tilted up, her lips smiling, inviting.

AMY

Like father, like son?

VALENTI

(chuckles)

He does have good taste in women.

He kisses her, hungrily; she responds in kind. They break for air, breathing heavily, their foreheads touching.

VALENTI (cont'd)

I wish you didn't have to make an early night of it.

AMY

Me too, but I have to prepare for that client meeting in Albuquerque tomorrow.

VALENTI

So I don't get to see you tomorrow either?

AMY

(disappointment in her voice)

No, it will run late, and then there's the long drive home.

VALENTI

(worried)

I hate to think of you driving all alone at night on the highway. Wish I had one of those satellite cameras so I could make sure you were all right.

AMY

You worry too much.

She kisses him again and he forgets that he was worried.

Cut to:

		15	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - LATER

Alex and Michael are standing outside the main office of the school. The hallway and office lights are on, but dimmed. Alex is looking around, nervously. Michael is unlocking the door.

ALEX

You're sure you disabled the cameras?

MICHAEL

Yes, I'm sure.

ALEX

And the alarm system?

Michael opens the office door and enters.

MICHAEL

(slightly annoyed)

Yes, the alarm system too. Will you relax already?

Alex enters the office and closes the door behind him, then heads for the computer on the principal's secretary's desk.

ALEX

I'll relax when we get out of here without getting caught.

Alex turns on the computer and monitor, then checks the file drawers by the desk while the computer warms up. Michael heads for the principal's office, unlocks the door, and enters. The camera follows Michael into the principal's office as he goes to one of the file cabinets, unlocks it, and opens a drawer. He flips through the folders, as if looking for something in particular, then moves on to the next drawer when he doesn't find it.

ALEX (VO)

Just as I thought.

MICHAEL

Server was down?

ALEX (VO)

Yeah.

MICHAEL

I'm gonna have to remember that. If you don't want anyone hacking into your files from a remote location, turn off your Internet connection.

Cut to:

		16	INT WEST ROSWELL HIGH SCHOOL - MAIN OFFICE - CONTINUOUS

ALEX

(as he's typing away)

Right, make them break into your home or office to hack into your files.

Cut to:

		17	INT. SHERIFF'S CRUISER - SAME

Sheriff Valenti is driving down a Roswell street. He passes by a School Zone sign. He's on the cruiser's two-way radio. We join him in mid-conversation.

VALENTI

I'll take the call. I'm nearby.

Cut to:

		18	INT WEST ROSWELL HIGH SCHOOL - MAIN OFFICE - CONTINUOUS

ALEX

You can stop looking, I've got what we came for.

Alex removes a disk from the A drive of the computer, then starts shutting everything down. Michael is still in the principal's office. When Alex finishes he walks over to see what is keeping him. Michael is engrossed in a file he is holding.

ALEX

What did you find?

MICHAEL

(without looking up)

My file.

ALEX

(with slight concern)

So the student files are in here?

MICHAEL

No, disciplinary files.

(glancing at the many file cabinets along the wall, then at Alex)

Apparently I'm not the only problem child here.

(beat)

Let's lessen their burden with a few minor adjustments.

Smiling, Michael waves his hand over the documents in the file. Just then a sound is heard outside the main office door. Alex quickly steps into the principal's office and shuts the door behind him.

ALEX

I thought you said you killed the alarm.

MICHAEL

I did.

We hear the sound of the front door opening, the jingling of keys, and something on wheels being pushed.

MICHAEL (cont'd)

(whispering)

That's probably just the janitor emptying trash cans.

ALEX

(panicked whisper)

Won't that mean he'll come in here?

Cut to:

		19	INT. WEST ROSWELL HIGH SCHOOL - MAIN OFFICE - CONTINUOUS

The janitor is emptying trash cans under the desks into the larger one on wheels. He heads for the principal's office, takes out his keys, unlocks and opens the door.

Cut to:

		20	INT. WEST ROSWELL HIGH SCHOOL - PRINCIPAL'S OFFICE - CONTINUOUS

The office is empty. The trash can is conspicuously positioned on the opposite side of the desk from where the principal would sit. The janitor looks at it askance for a beat, then picks it up, empties it into the larger one, puts it back where he found it, rolls the large trash can out of the office and closes the door behind him. The camera changes angles to show us Alex and Michael crammed together under the desk. They both let out the breath they were holding.

ALEX

(tremulously)

Piece of cake.

Cut to:

		21	EXT. EVANS HOME - STREET - LATER

There is a car parked near the Evans's home. Someone in the car appears to be watching the house.

Cut to:

		22	INT. CAR - CONTINUOUS

Tess is in the car, watching the Evans's home through night vision binoculars. She hears a car approach and ducks out of sight. When the car has safely passed she resumes her surveillance.

Cut to:

		23	EXT WEST ROSWELL HIGH SCHOOL - QUAD - DAY

Tess is sitting at a table alone. Liz and Maria approach her.

LIZ

(smiling)

Hi. Tess, right?

Tess puts her hand out to shake and Liz puts flyers about school activities into it.

LIZ (cont'd)

Mind if we sit?

Maria and Liz sit at Tess's table before Tess can respond.

LIZ (cont'd)

We're part of the Sunshine Club welcoming committee and we would like to welcome you to West Roswell High.

Tess looks at Liz askance and thinks for a beat.

TESS

I started last Thursday. Wouldn't it have been more appropriate to welcome me then?

Maria and Liz's jaws drop, taken by surprise by Tess's reaction.

MARIA

Well, um, we just found out that you started, so--

It's Maria's turn to get the askance look.

TESS

Aren't you in my music class, that I had Friday?

MARIA

My goodness, aren't you observant. So, anyway, about the school ...

Cut to:

		24	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - LATER

Michael is walking down a hallway. Vicky is at the end talking to another female student. She sees Michael approach and says something to the other girl that we can't hear. The other girl looks towards Michael and they both start giggling. Michael senses they are speaking about him. A combination of fury and embarrassment crosses his face. He turns and walks in the other direction.

Cut to:

		25	INT. WEST ROSWELL HIGH SCHOOL - ANOTHER HALLWAY - SAME

Alex and Max are at Max's locker. He opens it and finds a Ziploc bag with chocolate chip cookies inside. He smiles when he sees "Sweets for my sweet. Love, Liz" written in sliver metallic on the bag inside a heart. He pulls out the bag, opens it, and offers it to Alex.

MAX

Would you like one?

ALEX

Love to.

They each take a cookie and take a bite. Max looks like he's just taken a bite out of heaven. Alex is fanning his mouth like he just ate a chili pepper whole.

ALEX

Hot ... hot!

Max quickly pulls out a bottle of water from his backpack and hands it to Alex. Alex gulps it down.

ALEX (cont'd)

(gasping for breath)

Thanks. Chili peppers?

Max nods.

ALEX (cont'd)

I have got to stop sharing food from you guys!

Max senses something, then sees Tess approaching. He quickly looks around for a place to hide and notices the boys' room down the hall. He gestures to Alex to see who's coming and then to follow him. They practically run to the boys' room and enter. Michael, approaching from another hallway sees them rush inside, but does not see Tess.

Cut to:

		26	INT. WEST ROSWELL HIGH SCHOOL - BOYS' ROOM - CONTINUOUS

MAX

We should be safe in here for a little while.

They both tense when they see the door swing open, then breathe a sigh of relief when they see that it is Michael.

MICHAEL

You two have a bladder problem I should be concerned with?

(at their curious looks)

I saw you rushing in here ... together?

MAX

(matter-of-factly)

Tess.

MICHAEL

(nods in understanding)

So long as she follows the "no girls allowed" rule.

Beat as Michael quickly checks the stalls to see that they are alone.

MICHAEL (cont'd)

Speaking of rules, what happened to the rule about friends looking out for one another?

Max and Alex look at each other nonplussed.

MAX

What are you talking about?

MICHAEL

Not telling me about the corsage thing.

ALEX

The corsage thing?

MICHAEL

For the dance. It figures I'd screw up no matter what I do.

MAX

Don't be so hard on yourself. Not all guys get their dates corsages and not all the girls had them at the dance.

MICHAEL

No, but apparently it's a marker for how good a boyfriend you are and it's all over school that I'm a lousy one.

ALEX

You think Maria--

MICHAEL

No. I think the other girls saw her naked wrist and put two and two together.

MAX

(bemused)

So are you asking us to teach you the fine art of dating? Now?

MICHAEL

I could bug you about seeing Nasedo.

MAX

(quickly)

What do you want to know about relationships?

MICHAEL

Well, I don't want to go all renaissance or anything ... I just don't want to hear about how "poor Maria" has to put up with a "fixer-upper".

ALEX

OK, let's see ... Give her your undivided attention. When you are alone together, act like she is the only girl in the room.

MICHAEL

Usually, she's the only other person in the room, so that's covered.

MAX

But make sure you are paying attention to what she is saying, not half-listening while trying to watch the hockey game.

MICHAEL

OK, got it, listen when she talks.

(gets a pained expression)

But that's all the time!

ALEX

You asked for our advice.

MICHAEL

Fine! What else.

ALEX

(pointing to cookies)

Presents ... little mementoes.

MAX

Right. Leave her unexpected gifts or notes in her locker.

MICHAEL

Oh! I've done that!

MAX

Really? How often?

MICHAEL

Once.

MAX

Once? How long ago?

MICHAEL

A few months.

MAX

I think it might be time to do it again.

ALEX

(looking at watch)

Speaking of "time", we're supposed to meet the girls in five minutes.

Cut to:

		27	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - CONTINUOUS

Tess is walking down the hallway. She sees Isabel up ahead and picks up speed. Isabel glances in Tess's general direction and quickly turns a corner down another hallway. Tess gets to the corner and looks in the direction Isabel took; Isabel isn't in sight. Tess sighs in frustration and walks down that hallway, glancing in the classrooms as she passes. She slows down as she nears the entrance to the empty art room. She steps into the room as if drawn in by some unseen presence. She slowly circles the room examining the artwork. She slows her pace even more when she gets to a table with shoe boxes stacked on it. She looks at the boxes curiously, then zones in on one in the middle of a stack. She moves the top two boxes and reaches the third box which has "Parker" written on it. She opens it. The box is filled with a granular mixture of borax and cornmeal. Tess waves her hand over the mixture revealing the orchid corsage. She picks up the corsage and immediately gets a flash of Max's hands placing the corsage on Liz's wrist. The flash ends and Tess stares at the corsage, perplexed. She puts it back in the box, waves her hand to recover it, and returns all the boxes to their original positions. She starts to leave, but then stops and looks around as if there is something else still calling to her. She moves on, looking at the paintings hung on the wall. She stands in front of a landscape of horses in a field. Through the window we see Kyle walking by. He glances in and sees Tess. He smiles and enters the room.

KYLE

(making conversation)

What do you think of it?

TESS

(still appraising the picture)

It's rather prosaic.

KYLE

Prosaic? What does prosaic mean?

TESS

Ordinary. Dull.

KYLE

Why not just say ordinary or dull?

TESS

(deadpans)

That would be too prosaic.

Kyle smiles. Tess notices Michael's drawing of James Atherton's dome home. Taking this opportunity for some closer contact, she puts one hand on Kyle's arm as she points with the other towards Michael's drawing.

TESS (cont'd)

(with sincerity)

Now this one speaks to me. This artist has vision.

Kyle pretends to study the picture, but he's more conscious of Tess's hand on his arm, which he obviously enjoys. Tess's expression is a strange mixture of pleasure, disappointment, and confusion.

Cut to:

		28	INT. WEST ROSWELL HIGH SCHOOL - CLASSROOM - CONTINUOUS

The gang is meeting in an empty classroom; some are seated, some are standing, near the teacher's desk, as usual. We join them in mid-conversation.

LIZ

She seemed wary, stiff; not that comfortable with casual conversation. She wasn't that forthcoming.

MARIA

Yeah. She seemed suspicious. I don't think she believed us.

ISABEL

That's not surprising.

(off their confused looks)

The Sunshine Club? Honestly, was that the best you could come up with?

MARIA

(indignant)

What the--? It was your idea!

ISABEL

(rolls her eyes)

That was a joke; I didn't think you'd take me seriously.

LIZ

Tess apparently didn't. We did learn that she was home schooled most of her life, only attending public school when they knew they would be staying someplace for at least a few months. Her father is an import/export salesman--art for museums and such--so they move around a lot.

ALEX

That concurs with what Michael and I found. She has a 4.0 average and has already completed her sophomore year. She's just auditing classes right now to see if she wants to matriculate in the fall. She's sixteen, her birthday's in August. Her mother is deceased, she has no siblings, and she and her father, Ed Harding, live in the new development on Cottage.

ISABEL

There's something else. I found this note in my locker this morning.

(reading note)

"Please meet with me again. All I've ever known is Nasedo. I spent my whole life searching for someone like me. Please don't make me wait any longer. Tess."

(with compassion to Max and Michael)

I can't stop thinking what it would have been like if I didn't have you two in my life ... how alone I would feel.

MICHAEL

(hopeful)

So, you think we should meet with them?

MAX

(wary)

It could still be a trick. I contacted River Dog and he never heard of anyone named Tess or Harding. When she made that connection with Isabel she could have discovered enough about her to know exactly what to say to convince her.

They all look towards Isabel expectantly, to see which way she is leaning. Isabel looks back and forth between Michael and Max, trying to make up her mind, then finally speaks.

ISABEL

(with resolve)

Max is right. We need to know more about them before we can trust what they say.

MICHAEL

Well, we have their address, let's go check it out.

ALEX

I agree, but it should be me, Liz, and Maria doing the checking, not you three.

Michael starts to protest, but Liz interrupts.

LIZ

Alex is right. If Nasedo and Tess are home they could sense your presence.

MAX

No, it's too risky. What if you got caught? At least we can protect ourselves somewhat, you three would be defenseless.

LIZ

We'll be careful. We'll keep our distance.

ISABEL

What can you find out from a distance?

They all think for a moment.

ALEX

(light bulb coming on)

We could get their trash! My grandmother just moved to Cottage and I have to help put her trash cans out tonight ... so they should have their trash cans out tonight ...

LIZ

Perfect! Even if they caught us going through their trash, we could say we're collecting recyclables ... to earn money for the school band.

MARIA

(looking pointedly at Michael)

And we all know the best information can be found in the trash.

MICHAEL

Not our trash.

At Liz's, Maria's, and Alex's confused looks.

MAX

We turn our trash to ash before throwing it away.

ALEX

You burn everything you touch before you throw it away?

ISABEL

No, it would be too suspicious if we had no trash; it also takes a lot of energy.

MICHAEL

So, we just do the stuff that might be incriminating or have our DNA on it--hair, fingernails, tissues, etc.

MARIA

They could miss something; it could still be worth it.

LIZ

Also, your skin has your DNA and supposedly you can leave behind epithelia on almost anything you touch. If they throw away trash there's still a chance we'll find their DNA.

ISABEL

(frowning)

And apparently we need to stop throwing away our trash.

Cut to commercial:

END OF ACT II
ACT III

		29	EXT. ROSWELL STREET - MAIN STREET - DAY

Larry is at a payphone. He hesitantly picks up the phone and dials a number. Before anyone can answer he hangs up.

Cut to:

		30	INT. WEST ROSWELL SHERIFF'S DEPT - FRONT DESK - CONTINUOUS

HANSEN

(hanging up phone)

I swear ... if I get a hold of the kids who have been calling and hanging up for the past couple of days ...

Deputy Green looks sympathetically at him, shrugs, and heads for the file room.

Cut to:

		31	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - LATER

Tess is standing alone, outside a classroom that is in session. Through the window in the door we can see Isabel sitting in the class, trying to listen to the teacher, but also appearing wary, as if sensing something outside in the hallway, occasionally looking in that direction. It is apparent that Tess is lying in wait for Isabel. A school administrator sees Tess standing in the hallway and approaches.

ADMINISTRATOR

Excuse me Miss, there's no loitering in the hallways during classes. May I see your ID?

(as Tess gets it from her backpack and hands it to her)

What class are you supposed to be in?

TESS

Um, I'm just auditing classes--

ADMINISTRATOR

(examining Tess's ID then handing it back)

Just because you are a visitor to our school doesn't mean you can ignore the rules. If you are auditing classes you are supposed to attend them.

TESS

Yes, Ma'am.

Cut to:

		32	INT. WEST ROSWELL HIGH SCHOOL - CLASSROOM - CONTINUOUS

The teacher is writing on the blackboard. Under the heading "Immigration, Reasons for": he has already listed: "Economic opportunities, Scarce resources, Religious and political freedom". The students are taking copious notes as the teacher speaks. We see Max, Liz, and Maria sitting near each other on the side of the room closest to the door. We see Liz's very neat notes, Maria's more freewheeling style then Max's notebook which is similar to Liz's. When we look closer we see doodles in the margins. Next to the word "immigration" we see a sketch of the Earth with space ships headed toward it. There's a large question mark next to the words "reasons for."

TEACHER

(still writing)

Responses of the population to the newcomers.

Max glances at Liz and smiles. The door to the classroom opens and everyone looks to see who has interrupted the class. Max, Liz, and Maria all tense when they see Tess enter the room, escorted by the administrator. Max looks like he's ready to bolt through the open door. The teacher approaches the administrator. She whispers something to him and he points to an empty desk on the opposite side of the classroom from where Max, Liz, and Maria are sitting. Tess takes her seat, the administrator leaves, the teacher closes the door and continues his lecture. Max alternates from looking at the door to looking at Tess. Tess's posture indicates that she senses something and she starts to look around. Max immediately averts his eyes and pretends to be taking notes. He surreptitiously erases his spaceship doodles with his powers.

TEACHER (cont'd)

Now we are going to consider the responses of those who were already there--

The front door opens again and Deputy Owen Blackwood steps in. He stares at the students. Liz, Maria, and Max exchange worried looks.

TEACHER (cont'd)

(enthusiastically)

Deputy Blackwood, thank you for coming.

(to class)

Deputy Blackwood is here to talk about the affect of immigration on indigenous people such as the Native Americans.

Max, Liz, and Maria look somewhat relieved.

Dissolve to the end of the class:

The words "Aggression", "Biological Warfare" and "Oppression" have been added to the board. The bell rings, signally the end of class. Max bolts out the door at the first opportunity. The teacher is shaking hands with Deputy Blackwood and the students are collecting their things. Tess seems to be making a beeline for the door as well. Liz "accidentally" drops her books in front of the doorway, blocking other students, including Tess, from exiting. She apologizes amid student groans, but takes her time recollecting her things. Some students veer over to the other exit. Tess does the same, but Maria gets there first where she too "accidentally" drops her books, blocking Tess's exit. There are more student groans, more apologies. In the meantime, Liz has checked to see that Max has left the hallway and gives Maria the "Sting" signal to indicate the all clear. Maria collects her things and meets Liz in the hallway. The other students and Tess exit behind her giving both Maria and Liz dirty looks. Maria pulls a vial from her backpack.

MARIA

(fervently)

I need a mental health day.

Cut to:

		33	EXT. WEST ROSWELL HIGH SCHOOL - QUAD - DAY

In a secluded part of the quad, Tess is on her cell phone. We join her in mid-conversation.

TESS

No, she seems to be avoiding me.

MALE VOICE (ON PHONE)

What about the other one. Have you figured out who he is yet?

TESS

(disappointed)

No. I thought I did, but I was wrong. He's here though; I can definitely sense him.

MALE VOICE (ON PHONE)

I can solve this, you know.

TESS

I know you can, but it's important to me that I do this myself. I think we should be patient; don't force it; let them come to us. Just give me a little more time.

Cut to:

		34	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - CONTINUOUS

Liz, Maria, and Alex are walking down the hallway together, we join them in mid-conversation.

LIZ

But we said we would keep our distance ... Max would never agree to this. He'd say it was way too dangerous.

MARIA

That's why we are not going to tell him ... until after.

ALEX

I agree with Maria. We need to do this for them.

Cut to:

		35	EXT. HARDING HOME - FRONT YARD - NIGHT

Liz and Maria are carrying a couple of trash bags away from the trash can on the street, towards a car parked a few houses down and across the street. Alex is by the front window, taking pictures. Once Liz and Maria get the trash bags in the trunk of the car they creep back to Alex. Liz, using a mini flashlight, starts searching the ground around the shrubs. Foliage blocks the view through the window for Maria and Liz, so they have to rely on Alex's commentary. Through the window we can see Tess and Ed Harding are having dinner. There is Tabasco sauce on the table. During the scene we occasionally see both Tess and Ed put the sauce on their food. Maria, Alex, and Liz all speak in stage whispers to keep from being heard by Tess and Ed.

MARIA

What's going on?

ALEX

(looking through the viewfinder of camera)

They're passing the potatoes.

MARIA

I'm serious.

ALEX

So am I. They're just having dinner. There's nothing "other worldly" going on.

In the background we see Liz has found something on the other side of the fence to their side yard, but she can't reach between the slats of the fence. She takes a pen out of her backpack to add to her reach. She manages to reach the item and pull it through the slats. It's a gum wrapper with a used wad of gum inside. Liz smiles triumphantly, then puts the gum and her pen back into her pack.

MARIA

(worried)

Will the pictures come out without a flash?

ALEX

I'm using infrared film.

LIZ

(rejoining them)

Good thinking.

Alex takes several more pictures at different angles, the camera clicking away. Ed's body language indicates that he seems to be hearing something, but isn't sure. He says something to Tess that we do not hear. She stops eating and listens. They both turn towards the window. Alex takes one last picture then turns to Maria and Liz.

ALEX

(hurriedly)

Time to go!

They all take off at a run towards Alex's car. Alex and Maria get in the front, Liz in the back.

Cut to:

		36	INT. ALEX WHITMAN'S CAR - CONTINUOUS

From the safety of the car they look back at Tess's house and see Tess and Ed looking out the window Alex was just looking into. The angle is such that Alex, Liz, and Maria can see Tess and Ed, but Tess and Ed cannot see Alex's car or its occupants.

MARIA

Do you think they saw anything?

ALEX

I don't know; it was pretty close.

LIZ

Tess strikes me as the type of person who speaks her mind ... I'm guessing she'll say something tomorrow if they did.

ALEX

Well, we'll deal with that tomorrow then. Right now let's get this film developed.

He's about to start the engine when Liz calls out from the back seat.

LIZ

Uh oh!

MARIA

(turning quickly)

What!?

LIZ

I must have dropped my pen. If they find it they'll know for sure I was here.

ALEX

How?

LIZ

It's one of the ones Max gave me ...

MARIA

(finishing for her)

With your name on it!

LIZ

Right; course with them they wouldn't need a name.

(at their confused looks)

They'd probably get a vision from it.

ALEX

OK, I think we need to go back for it.

LIZ

No, you stay here, I'll go. There's less chance of being noticed that way.

They look towards the window and see that Tess and Ed are no longer there. Liz gets out of the car and stealthily runs over to the fence near the front yard window where she had been standing.

Cut to:

		37	EXT. HARDING HOME - FRONT YARD - CONTINUOUS

Liz does a brief search, finds her pen and starts to head back towards the car. Just as she is stepping from the yard to the sidewalk the front door opens and Ed comes out.

ED

(suspicious)

May I help you?

Liz freezes in her tracks, then turns and faces Ed. Ed approaches Liz; he now has a good view of Alex's car. Alex quickly turns and embraces Maria. His face is right up to hers; their lips a hair's-breadth apart.

Cut to:

		38	INT. ALEX WHITMAN'S CAR - CONTINUOUS

The camera angle is from Maria's POV so we see what she sees.

MARIA

What are you doing?

ALEX

Pretend we are making out. Can you see what's going on?

Maria puts her arms around Alex and pretends to be kissing him, but is watching Liz and Ed.

MARIA

They're just talking. Uh oh.

ALEX

What?

MARIA

He's pointing to where we were standing. Oh great!

ALEX

Now what?

MARIA

Tess is at the window and she sees Liz.

Liz stops talking to Ed and continues walking, still on the other side of the street, walking way past the car.

MARIA (cont'd)

Now Liz is walking a--

Ed looks suspiciously at Alex's car. Maria suddenly starts kissing Alex for real, taking him completely by surprise. The camera angle changes and we see that her eyes are closed; she does not let Alex up for air until she hears the Hardings' front door close. At the same time Liz doubles back to the car.

ALEX

(gasping)

What was that!?

MARIA

Mr. Harding was looking right at us; I had to make it look real.

Liz stealthily approaches the car, opens the back door and climbs in.

LIZ

OK, now it's really time to go.

Alex starts the car and takes off.

Cut to:

		39	EXT. WHITMAN'S GALAXY STUDIO - NIGHT

Establishing shot. We see many photos in the window. Next to some family photos is an ad which reads: "Lights, camera, blast-off to Whitman's Galaxy Studio for your next out-of-this-world family photo!"

		40	INT. WHITMAN'S GALAXY STUDIO - DARK ROOM - CONTINUOUS

There are sheets of photo paper immersed in shallow plastic tubs filled with developing solution. Alex is using tongs to move the sheets slightly, to make sure that they are completely covered. Isabel is beside him, watching.

ISABEL

How do you know how to do this?

ALEX

I work for my uncle sometimes when he needs extra help and he pays me by letting me use his equipment whenever I want.

ISABEL

(with a concerned sigh)

I don't know how I can ever repay you ... for what you did for us tonight.

ALEX

(looks at her lovingly)

If this helps you find the answers you've been looking for, that's all the payment I need.

(leans towards her playfully)

But a kiss would be a nice fringe benefit.

Isabel smiles and kisses him with lots of enthusiasm. Then she pulls back suddenly.

ISABEL

(shocked)

You kissed Maria!?

Cut to:

		41	EXT. LIZ PARKER'S BALCONY - SAME

Max and Liz are sharing her lounge chair. Liz is lounging in Max's arms. He's holding her very protectively. On the floor of the balcony newspapers have been spread out and the contents of one of the trash bags has been dumped on them. It's obvious the trash has been meticulously gone over, and that there was a lot of ashes. On a table nearby, there is a microscope, some slides, and the gum Liz found.

MAX

I can't believe the risk you took. We have no idea who he is or what he's capable of--

LIZ

I know, I know, but this is something we really wanted to do for you; and we didn't plan on getting caught--

MAX

But you did.

LIZ

And nothing happened.

MAX

Didn't you say you're not sure he believed you were looking for a lost dog?

LIZ

True, so they now probably suspect they are being watched ...

Cut to:

		42	INT. DELUCA LIVING ROOM - SAME

Michael and Maria are sitting on her living room floor, going through the trash and ashes that are strewn out on the spread-out newspapers. Maria is very animated retelling their adventure.

MARIA

... which I admit is not really a good thing, but they probably figured we would be checking them out once Tess met Isabel, so it's not so bad in the long run. And I don't think they saw Alex's or my face, since we were kissing, so we can still do some reconnaissance--

MICHAEL

(interrupting)

Whoa! Back up there a minute. You and Alex were kissing!?

MARIA

(exasperated)

It wasn't a real kiss. It was a stake-out, keeping your cover kiss, and since when did you start listening to everything I say?

She holds up her hand to forestall Michael's reply, trying to steer the conversation away from the kiss.

MARIA (cont'd)

Never mind, it's not important, we need to focus on what is--Alex is pretty sure he got some good pictures.

Cut to:

		43	INT. WHITMAN'S GALAXY STUDIO - DARK ROOM - CONTINUOUS

The pictures are developing and we see some clear shots of both Tess and Ed Harding. One shows Ed putting Tabasco sauce on his potatoes. Isabel points to that picture while speaking.

ISABEL

Did you notice how much Tabasco he used?

ALEX

(shuddering)

Way more than the average human could handle.

ISABEL

(slightly apprehensively)

This is real, isn't it? This is really happening. This is probably the person who can answer all our questions.

Cut to:

		44	EXT. LIZ PARKER'S BALCONY - CONTINUOUS

Max and Liz are in their same positions.

LIZ

What did you imagine this day would be like? When you met someone who could answer all your questions? What did you--do you think they will tell you?

MAX

I don't know. So many scenarios have floated around my head these past ten years, that it's hard to sort them all out.

LIZ

What did you think when you first realized you were ... different?

MAX

I was pretty young then--six years old--and I was just learning about ... everything. At first I didn't realize I was different, then I assumed I was human, but I had ... well ... magical abilities.

Max looks at Liz hesitantly. Liz smiles gently and looks at him expectantly.

MAX (cont'd)

I really latched onto the books my mom would read to us that had to do with magic and started reading all that I could get my hands on, like the Earthsea Trilogy--

(smiles; short laugh)

I thought I might be a wizard.

LIZ

And when you got older?

MAX

(sighs)

I realized I was way different then even the characters in those books. Isabel too. When we met Michael again, that's when we started searching for clues at the crash site. But nothing we found told us who we were or why we were here.

LIZ

You must have speculated.

MAX

Yes, everything from being left behind because we were a failed medical experiment to--

Cut to:

		45	INT. DELUCA LIVING ROOM - CONTINUOUS

Michael and Maria have moved to the couch. She is looking intently at him as he continues to speak.

MICHAEL

... my parents escaped the crash and were just hiding out until it was safe to come get me ... us.

MARIA

But you've always believed you were from another planet?

MICHAEL

Yes, I never felt I fit in here. I never felt ... human.

MARIA

And now?

Michael looks directly at Maria. Then he puts his arm around her and pulls her close.

MICHAEL

Now I'm confused. I'm not sure where I belong.

MARIA

(hesitantly; not sure she wants to know the answer)

If Nasedo had--has a way home ... would you ... would you go?

Cut to:

		46	INT. WHITMAN'S GALAXY STUDIO - DARK ROOM - CONTINUOUS

The pictures are hanging to dry. Alex is sitting on a high stool. Isabel is leaning against his chest, wrapped in his arms.

ISABEL

I'm not sure. I mean I've always felt Earth was my home. I like my life here, or at least the parts that don't involve lying, and hiding, and running for my life. That I could do without.

ALEX

What do you think your life would be like in your other home?

Cut to:

		47	EXT. LIZ PARKER'S BALCONY - CONTINUOUS

Max and Liz are now sitting upright on her lounge, facing each other.

MAX

What is home? Is home really up there? I just feel like this whole idea about where we come from ... it just feels like this dream ... this, this dream that I can never really quite touch or see or ... feel. And Earth ...

(he caresses Liz's face)

Earth just seems so much more ... real.

He cups her face in his hands, then kisses her lovingly.

Cut to:

		48	INT. DELUCA LIVING ROOM - CONTINUOUS

Michael and Maria are still in their same positions.

MICHAEL

Why do you care? Your life would probably be a whole lot better if we all left.

MARIA

(piqued)

Better how?

MICHAEL

Well, I drive you crazy.

MARIA

True. Right now would be a perfect example.

MICHAEL

And I'm a lousy boyfriend--I never know the right thing to do, or say--I'm always screwing up--

Maria sits up straight, at arms length, interrupting his litany.

MARIA

Michael, I don't need you to be a perfect boyfriend. I just need you to care about me as much as I care about you.

(pause)

MICHAEL

That would be pretty hard not to do.

He leans towards her and they kiss.

Cut to:

		49	INT. WHITMAN'S GALAXY STUDIO - DARK ROOM - CONTINUOUS

The pictures have dried and Alex and Isabel are examining them.

ALEX

(looking at Tess's picture)

So do you think Tess was in a pod like you, Max, and Michael?

ISABEL

That's the feeling I get, but there's one way to find out for sure.

She takes the picture of Tess from him, closes her eyes, and concentrates.

Cut to:

		50	EXT. LIZ PARKER'S BALCONY - SAME

Max and Liz are still sitting on her lounge, facing each other.

LIZ

But you still want to know the answers, even if you don't want to go back to whatever planet you might be from, right?

MAX

Yes ... No ... I'm not sure ... I guess I just don't want to learn that I come from a race of homicidal maniacs.

LIZ

Well, if you do, then you, Isabel, and Michael are the exceptions. Anyway, let's hope Isabel can dreamwalk Tess and Nasedo, the one we are pretty sure really is Nasedo, and the results will be different.

MAX

And if she can't, maybe you can.

LIZ

(shaking her head)

No, I really don't think it's me doing the dreamwalks ... I mean how?

MAX

Well I don't think it's me. I tried to dreamwalk Isabel. It didn't work. So that leaves ...

Max leans over and kisses Liz on the head.

Cut to:

		51	EXT. STREET - NIGHT (DREAM SEQUENCE)

Isabel is observing Tess, who is having a nightmare about people stalking her. She's walking down a street at night, nervously looking over her shoulder repeatedly. There are people in the shadows behind her, but they disappear every time she looks around to catch them. She picks up her pace, then starts running.

Cut to:

		52	EXT. VASQUEZ ROCKS - POD CHAMBER AREA - CONTINUOUS (DREAM SEQUENCE)

Tess is still running. She runs up to a rock wall, stops and puts her hand on the wall. It glows silver underneath her hand. Then the stone appears to ripple and shimmer as it transforms itself into a doorway-like opening. She steps into the hollowed-out area inside and crouches down next to an egg-shaped gossamer-like pod shell, as if for protection. She turns towards the opening, there is a look of terror on her face. She reaches out and touches the inside wall of the chamber. The ripple effect appears and the doorway-like opening of the pod chamber turns back into a solid stone wall, sealing Tess inside.

Cut to:

		53	INT. WHITMAN'S GALAXY STUDIO - DARK ROOM - CONTINUOUS

Isabel jolts out of her dreamwalk with a gasp.

ALEX

(concerned)

Are you all right? What did you see?

ISABEL

(solemnly)

A very frightened girl.

Cut to commercial:

END OF ACT III
ACT IV

		54	EXT. LIZ PARKER'S BALCONY - CONTINUOUS

Max and Liz are still sitting on her lounge, facing each other.

MAX

Anyway, why don't we test my theory.

LIZ

(intrigued)

An experiment?

MAX

Exactly. I'll try first. You just relax and wait, but don't hold my picture or concentrate on being with me. If I fail I'll call you and you can try without my help.

LIZ

And if--no make that when I fail I'll call you and we can try together.

Cut to:

		55	INT. WHITMAN'S GALAXY STUDIO - DARK ROOM - CONTINUOUS

Isabel is holding Ed's picture.

ALEX

Are you sure you want to do this without the others?

ISABEL

(nodding)

Maybe I couldn't get in alone before because we were using a drawing instead of a picture. I just need to know.

Isabel closes her eyes and concentrates. We can see the frustration building as it becomes clearer that she is not succeeding. With a heavy sigh, she opens her eyes.

ALEX

No luck?

ISABEL

(shaking her head)

I wasn't even close. It was as if I was being deliberately blocked.

(looks up at Alex with concern)

Do you think he's getting wise to us?

ALEX

It's hard to tell, since we don't know the extent of his powers.

ISABEL

Right. Maybe I just need help, like last time. I'll ask Max tonight to try with me, and if we can't do it, maybe Liz can help.

(at Alex's confused look)

Max seems to think Liz helped with the last one, instead of just hitching a ride.

ALEX

(amazed)

How!?

ISABEL

(shrugs)

Who knows what might have happened when he healed her.

Alex looks concerned at what that might mean for Liz, then his attention turns back to Isabel.

ALEX

(pointing to Ed's picture)

And who knows what might happen if you get in. Are you sure you want to do this?

ISABEL

(with determination)

Yes, it's something I have to do.

Cut to:

		56	INT. LIZ PARKER'S BEDROOM - CONTINUOUS

Liz is lying in her bed, relaxed, waiting. Her phone rings and she answers.

LIZ

Hi.

MAX (VO)

No go. Your turn.

LIZ

OK.

She hangs up the phone and picks up a framed picture of Max from her night stand, then she sits up in her bed, cross-legged, still holding the picture. She closes her eyes and concentrates. Nothing happens. She sighs, opens her eyes and reaches for the phone.

Cut to:

		57	INT. MAX EVANS'S BEDROOM - CONTINUOUS

Max picks up his ringing phone.

MAX

Hi.

LIZ (VO)

(with a smile in her voice)

Contrary to popular belief, I don't appear to have alien powers.

Max chuckles, hangs up the phone, picks up his picture of Liz and starts concentrating.

Cut to:

		58	INT. CRASHDOWN - MAIN DINING AREA - DAY (DREAM SEQUENCE)

Max observes Dream Liz and Dream Maria serving customers; Dream Max and Dream Michael are in their usual booth. Max turns to see Liz join him to observe the dream scene. She holds out her hand and he takes it in his.

MAX

(teasing)

Who doesn't have alien powers?

LIZ

(pleased)

I guess it takes both of us.

(beat, curious)

But I still don't understand how?

MAX

Some humans are thought to have telepathic powers. Maybe yours were dormant until I healed you.

LIZ

Maybe.

Liz steps closer to Max. Their bodies are touching, her face is raised to his, their lips tantalizingly close.

LIZ (cont'd)

Or maybe we are just so in sync with one another that we enhance each others abilities. It's really your power, but I give it a boost.

Max smiles liking that idea.

Cut to:

		59	INT. EVANS HOME - LIVING ROOM - SAME

Diane has fallen asleep on the couch. The TV is still on. An old cops and robbers type movie is playing. Several gun shots are fired.

Cut to:

		60	INT. CRASHDOWN - MAIN DINING AREA - (DREAM SEQUENCE) CONTINUOUS

MALE VOICE

I was here for the money today. Not tomorrow.

The scene has suddenly changed back to that fateful day in September. Max and Liz turn and see the two men from that day (the Pilot) struggling over a gun. In shock they look at the other end of the Crashdown where Dream Liz is standing in the line of fire, like a deer caught in headlights. The gun goes off and she falls. Dream Max rushes to her aid and heals her.

DREAM MAX

(to Dream Liz)

You're all right now. You're all right.

Dream Max senses he's being watched and looks around. He sees his parents emerge from the shadows. They look stunned, wary, and unnerved. Dream Max stands up.

DREAM MAX

Mom, Dad. It's all right. I can explain ...

Suddenly there's a flash of light and Dream Max shapeshifts into Hank, then Desert Man, then back to himself.

Diane and Phillip back away from him.

DREAM MAX (cont'd)

Please.

Diane and Phillip continue to back away from him in horror.

Cut to:

		61	INT. MAX EVANS'S BEDROOM - LATER

Max is lying on his back in bed, awake. He seems troubled and deep in thought. There is a knock on the window. Max glances towards the sound, but decides not to respond. There is a second knock on the window. Max resignedly gets out of bed and heads for the window, talking as he walks.

MAX

Michael, I'm not really in the mood--

Max stops short when he moves the curtain and sees that it is Liz. His mood softens, but he still sounds troubled.

MAX

Oh, sorry ... I assumed it was Michael.

He opens the window.

LIZ

I figured you might want to talk.

Max helps her through the window and they walk over and sit on the edge of his bed.

LIZ

I think we established one thing--these were your thoughts, not mine. Maria told me what happened after I was shot but I couldn't have known what it looked like that day. What I looked like ...

MAX

I'm so sorry. If I had known this could happen, that you would see ... my nightmares ... I shouldn't have made you relive that day.

LIZ

Max, you don't need to apologize. I know you'd never do anything to hurt me.

(pause)

Have you had this nightmare before?

MAX

No ... at least not that exact one.

LIZ

Oh.

(pause then hesitantly)

Max, I know you can't tell your parents the truth but if you did--

MAX

(shutting down)

No. I can't.

LIZ

(carefully)

I don't think it would be that way. Like in the dream. I know I was scared at first when you told me but I didn't really know you. Your parents do. They love you, Max.

MAX

(deliberately matter-of-factly)

My parents love Max the human.

LIZ

(forcefully)

Your parents love Max.

Liz puts her arms around Max. Max relaxes; we can see the pain in his eyes. Liz reaches up to touch his face; their embrace turns into a sweet kiss, then back into an embrace. They hold each other closely. A soft knock on the door interrupts them.

ISABEL (OS)

(stage whisper)

Max, are you awake?

Max and Liz disentangle themselves, but remain seated on the bed together.

MAX

Come in.

Isabel enters and is surprised to see Liz there. She glances towards the open window, then at the rumpled spread on the bed. She cocks an eyebrow at them both.

MAX

(innocently)

We were just talking.

ISABEL

(half smile)

Of course you were.

LIZ

I was just about to leave.

ISABEL

No, stay. We might need your help.

Liz looks at her quizzically. Isabel holds out a picture of Ed.

ISABEL (cont'd)

(frustrated)

I tried to dreamwalk him myself, but I couldn't. The three of us did it before, so ...

Liz looks anxiously at Max; Max gives her a quick look of reassurance. Liz and Max both nod their agreement. Liz moves to the middle of the bed, facing the edge, sitting cross-legged. Isabel moves to take Liz's previous position on the edge of the bed beside Max. She speaks as she walks and sits.

ISABEL (cont'd)

I have to be honest with you though. It felt like I was being deliberately blocked. After what we saw last time, are you two sure you want to do this?

Liz has a moment of unease, but then nods with assurance; Max does the same. He takes a hold of the picture with one hand, staring at Ed's face intently, then places his free hand on top of Isabel's, which she has on the bed. Liz puts her hand on top of Max's. Isabel indicates that Liz should also hold the picture, which she does. They all close their eyes and concentrate.

Cut to:

		62	EXT. WEST ROSWELL HIGHSCHOOL - FRONT ENTRANCE - MORNING

Tess is on the sidewalk about to head into school. Michael, who is leaning against the wall by the front entrance sees her and approaches, blocking her way. Tess sees him and reaches out to shake his hand.

TESS

Hello, my name is Tess Harding--

Instead of reciprocating, Michael folds his arms across his chest.

MICHAEL

I know who you are. That's why I'm here.

Tess lets her hand fall by her side. She looks at him quizzically, as if she senses something about him.

TESS

(eagerly)

Who do you think I am?

MICHAEL

Someone I've been looking for, for the last ten years.

Cut to:

		63	INT. WEST ROSWELL HIGH SCHOOL - ERASER ROOM - CONTINUOUS

Michael and Tess have just entered the eraser room and Michael is locking the door behind them.

MICHAEL

We can talk more freely now.

Tess tries to reach out and touch Michael but he avoids her hand as he walks into the center of the room. Tess hugs her arms; it's obvious she is wary of Michael's motives.

MICHAEL

Isabel says you are like us ... and that you can introduce us to Nasedo.

TESS

(surprised and excited)

That's right! Has she decided she wants to meet him?

MICHAEL

No.

The disappointment clearly shows on Tess's face.

MICHAEL (cont'd)

But that doesn't mean we won't. I'd like you to bring Nasedo to my apartment this afternoon, after school.

TESS

(pulling out her cell phone)

Why not right now. I can have him here in minutes.

MICHAEL

I need time to convince the others.

TESS

(hopefully)

Others? There's more than you and Isabel?

MICHAEL

Yes, Max. He'll be the hardest to convince, but I promise we'll all be there.

TESS

So, we'll see you when; 3:00, 4:00?

MICHAEL

I'll call you as soon as I know what time we'll be there.

Cut to:

		64	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - LATER

Michael is walking down a hallway from one direction and Max and Liz are coming from the opposite direction. They meet in the middle.

LIZ

Michael, we're letting everyone know to meet in the eraser room after second period, to discuss the latest dreamwalk.

MICHAEL

Look I've got some stuff I have to take care of first. Can you just tell the others to meet at my place after school today?

MAX

Sure.

Michael takes off and Max watches him leave with a puzzled look.

MAX (cont'd)

There's something I never thought I'd see.

LIZ

What?

MAX

Michael exhibiting patience.

Cut to:

		65	EXT. ROSWELL STREET - MAIN STREET - CONTINUOUS

Larry is on a payphone.

LARRY

I've given it some thought and I think, even though he was drunk, you might be interested in what he has to say.

Cut to:

		66	INT. ROSWELL SHERIFF'S DEPARTMENT - FRONT DESK - CONTINUOUS

Deputy Green is on the phone.

GREEN

What who has to say?

LARRY (VO)

This private I met at Scotty's the other night.

Cut to:

		67	INT. MICHAEL GUERIN'S APARTMENT - DAY

The gang is all there discussing the new dreamwalk. We join them in mid-conversation.

MAX

It was just different than before. I mean I still sensed his alienness, but if felt more like he has a troubled soul, not a tortured one.

Isabel and Liz nod their agreement.

ISABEL

It's possible they aren't even the same person. I mean, I got a totally different vibe and I didn't see any of the same memories.

Max and Liz nod their agreement.

MAX

(to Liz, who seems very quiet)

What did you feel?

LIZ

(sighs)

I don't know ... it's hard to explain. It wasn't something tangible, just a gut feeling ...

MICHAEL

So, what was your gut telling you?

LIZ

That he wasn't my friend ...

(at Max's, Michael's, and Isabel's distressed looks she quickly adds)

But that doesn't mean he won't be yours.

ISABEL

(frustrated)

Do you think we can trust him or not?

LIZ

I'm not sure. I just know I don't ... yet.

(beat)

ISABEL

I think I do. I know what we found in the trash was inconclusive and we don't really know that much more about them, but my gut instinct says it's safe. I think we should meet with them.

MICHAEL

I'm glad you feel that way, because I've already invited them.

MAX

You did what!?

MICHAEL

What's your problem? We came to the same conclusion; I just came to it and acted on it sooner.

MAX

Keywords being "acted on".

(sarcastically)

What happened to us being a democracy?

MICHAEL

Look, your tactics may keep us safe, but mine are what's gonna get us the answers we've been searching for.

MAX

Your "tactics" almost got you killed--or are you conveniently forgetting that?

MICHAEL

That could have happened to any of us.

MAX

Any of us that dive in head first. Michael, you can't keep "acting on" rash decisions--

MICHAEL

(interrupting)

You're not the boss of me--I can do what I want.

MAX

Not when it affects all of us.

MICHAEL

Look who's talking!

The others have been standing back, letting them work this out of their system, but now Isabel steps in, before things get out of hand.

ISABEL

Will you two chill out! Have you forgotten that now, of all times, we need to have a united front?

(Michael and Max both look chastened)

Now let's discuss this calmly.

There is a knock on the door.

MICHAEL

Guess it's gonna have to wait till later.

Michael opens the door to find Tess and Ed standing there.

TESS

(excited)

This is--

She stops abruptly when she sees Maria, Liz, and Alex. Tess and Ed enter the apartment.

TESS (cont'd)

This is my father, Ed Harding. Dad,

(indicating Liz)

you've met Liz, sort of, and this is

(pointing at each in turn)

Michael, Isabel, Maria ...

(stops when she gets to Max and Alex)

ISABEL

(finishing the introduction)

Max and Alex.

Assorted awkward "hi"s.

ED

I think it's important to meet my daughter's new friends. I know I'm old-fashioned, but Tess puts up with me.

(smiles at Tess.)

TESS

(smiles back)

Dad.

The gang exchanges glances as though wondering when they stepped through the looking glass.

(pause)

MICHAEL

What is this crap?

MAX

Michael!

ISABEL

It's okay, Tess. Liz, Maria, and Alex know the truth about us.

ED

Truth? Have we walked in on a meeting of a secret club.

He smiles again.

MICHAEL

Sure, the I Know an Alien club.

ED

(shocked, but refusing to let down his guard)

Of course. This is Roswell. It's natural that you'd have an interest in UFOs.

(pause)

MAX

No, our friends know that Michael, Isabel, and I are aliens. And that--

Max stops talking at the anger and horror on Ed's face; the fear on Tess's.

LIZ

We would never say anything. Anything that might hurt anyone.

At the sound of Liz's voice, the anger resonating from Ed seems to grow so as to fill the room.

ISABEL

It's safe, really. We can trust them; they've proved it over and over.

She turns slightly to Alex and takes his arm.

ED

(with a forced laugh)

Very funny. Is this a game that you play with all newcomers to Roswell?

Michael, exasperated, raises his hand and uses his power to knock a pile of books off the kitchen counter.

All but Michael jump at the noise. Isabel, Liz, and Alex, almost as surprised as Ed and Tess, stare at the books then turn to Michael with a "what the hell" look. Michael turns and aims at a drawing pad at the other end of the counter. Maria grabs his arm, stopping him.

MARIA

(softly)

I think you made your point.

MICHAEL

(to Tess and Ed)

Everyone here knows we're aliens. Get it?

ED

Yes, I get it. It's apparent you were not raised properly.

ISABEL

(indignant)

The Evanses are wonderful parents. They a--

ED

(interrupting)

You have no parents.

MICHAEL

What!?

ED

You have no parents.

ALEX

Maybe someone should start from the beginning.

ED

(not acknowledging Alex)

I will explain what you need to know and you will tell me about your lives in Roswell.

They all react to this statement with varying degrees of anticipation, curiosity, and suspicion.

ED (cont'd)

When they ...

(nodding toward Liz, Maria, and Alex)

... leave.

MAX

No.

(pause)

It's not necessary.

Ed says nothing. Liz glances at Alex and Maria as if asking a question. They both nod slightly.

LIZ

Max, it's okay. We'll go.

MAX

You don't have to do this.

LIZ

It's your chance to get answers to questions you've had forever. We ...

(glancing at Maria and Alex again)

... don't want to get in the way of that.

MAX

You're not.

LIZ

We'll see you later.

Liz leans toward Max and gives him a quick kiss. Alex and Isabel kiss, also briefly. Michael, glancing at Ed to make sure he's watching, in defiance kisses Maria as if he won't see her for days, then checks to make sure she is OK. Tess seems confused and hurt when she sees Max kissing Liz and Michael kissing Maria. Ed appears displeased.

MICHAEL

(to Maria)

I'll talk to you soon.

MARIA

(whispers)

Be careful, please.

Maria, Alex, and Liz leave.

LIZ (VO)

Answers. We seek them out even when we are not sure we want to know what they are.

Tess visibly relaxes when the door closes behind them. Max, Michael, and Isabel look wary. Both groups are being cautious, sizing each other up.

Cut to:

		68	INT. WHITE ROOM - CONTINUOUS

The private Larry met in Scotty's bar is alone in a room that is all white-white tiled walls, white tiled floors, white tiled ceiling, and no clear indication of where the exit is located. He is feeling along the walls, trying to find the door. He looks scared to death.

LIZ (VO)

They can open doors, but what's behind that door? The lady or the tiger?

Cut to:

		69	EXT. LIZ PARKER'S BALCONY - NIGHT - CONTINUOUS

Liz is on her balcony, sitting in her lounge chair, writing in her journal.

LIZ (VO)

And sometimes answers can create more questions. As much as I wanted this, wanted Max to learn who he is and why he is here, I can't help wondering "Now what? What does this mean for Max and me? ... For all of us?"

Fade out.

END OF ACT IV
Roll Credits

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VOICEOVER

Previously on Roswell ...

		1	INT. WEST ROSWELL HIGH SCHOOL - MUSIC ROOM - DAY (From Roswell Episode 101: The Pilot)

Liz has confronted Max about healing her.

LIZ

Um, I-I scraped some cells from your pencil. This is really hard to say, I'm trying to keep from blacking out here. Um, the cells weren't normal.

Cut to:

		2	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - DAY (From Roswell Episode 102: The Morning After)

Max and Liz are talking about her visit to Michael to tell him about Topolsky's interest in him.

MAX

You can't just show up at Michael's and get him riled up like that. You don't know him. He's not big into "let's go over our options." He acts on things.

Cut to:

		3	INT. WEST ROSWELL HIGH SCHOOL - EXHIBIT AREA - DAY (From Roswell Episode 105: Missing)

Michael is showing his finished painting of his vision, which is part of the exhibit, to Max and Isabel.

MICHAEL

It's pretty good, huh? I didn't even know I could paint. But Mr. Cowan said it's the best thing that's come out of this class all year.

		4	INT. LIZ PARKER'S BEDROOM - DAY (From Roswell Episode 105: Missing)

Max and Liz are hiding from Nancy and discussing Liz's missing journal. Max has just gotten a flash from a CD he picked up.

LIZ

No, Max. I told you. Kyle hasn't been here for over a week.

MAX

I saw him.

LIZ

You saw him?

MAX

I had a flash, Liz. When things get intense, heightened, sometimes we feel things...see things. He was here, Liz.

Cut to:

		5	EXT. ROSWELL CITY PARK - DAY (From Roswell Episode 105: Missing)

Max, Michael, and Isabel are having lunch, discussing Liz's journal being found and the book Max has been reading that was written by James Atherton. As Max and Michael start to leave to get something from the concession stand, Isabel flips through the book but finds it boring. She lets it close but the back cover stays open, revealing the back flap with a picture of the author outside his home–an exact replica of Michael's vision/painting.

ISABEL

Max. Michael.

Max and Michael return to the table.

MAX

What's the problem?

ISABEL

(pointing to picture)

This. Michael, it's your vision.

Cut to:

		6	INT. MOTEL ROOM OF FBI AGENT - DAY (From Roswell Episode 108: Blood Brother)

Michael and Maria are searching the motel room of the FBI agent who has been following them.

MARIA

Listen. Any baby-sitter worth her salt knows that the best place to look is in the garbage can. It's always revealing.

Michael looks through the trash can and finds a torn piece of paper with a number on it.

MICHAEL

Looks like a phone number. Local.

Maria picks up the phone and dials the number.

MICHAEL

What are you doing?

MARIA

You want to find out who's on the other end of the line, don't you?

Michael leans in to listen.

FEMALE VOICE (ON PHONE)

Topolsky. Hello?

Cut to:

		7	INT. WEST ROSWELL HIGH SCHOOL - TOPOLSKY'S OFFICE - DAY (From Roswell Episode 108: Blood Brother)

Alex is at Topolsky's laptop computer trying to break into her e-mail files. Cut to:

		8	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - CONTINUOUS

Liz is talking to Topolsky, trying to keep her from going back into her office.

LIZ

No, wait. Ms. Topolsky, wait! I mean...can't we just talk about this some more?

Topolsky realizes that Liz is just stalling her, turns and opens her office door. She sees Alex sitting in her chair, on her computer. Alex turns the screen towards her and reveals the FBI seal.

Cut to:

		9	INT. MAX EVANS'S BEDROOM - NIGHT (From Roswell Episode 110: The Balance)

Max, Michael, and Isabel are discussing the information Max learned from River Dog and kept from them.

MAX

I'm late. We'll figure out the questions we want to ask, and then we'll go back to River Dog together, OK? Please, Michael. Leave it alone for now.

MICHAEL

Fine. I'll wait.

MAX

We'll talk when I get back.

Max leaves.

MICHAEL

Do you ever wonder what else he tells Liz that he doesn't tell us?

ISABEL

Oh, please. You're one to talk. What have you been whispering in Maria's ear lately?

MICHAEL

At least I'm smart enough not to get attached. I can walk away from anybody if I have to.

ISABEL

What is that supposed to mean?

MICHAEL

It means I'm not gonna let Max's mistakes keep me from finding out what I need to know.

ISABEL

Oh, Michael, you promised.

MICHAEL

I promise I'll be as trustworthy as Max.

Michael leaves by climbing out the window.

		10	EXT. MESALIKO RESERVATION CAVE - DAY (From Roswell Episode 110: The Balance)

MAX

I remember the first time I saw Michael. It was in the desert the night we first came out of the pods. The sky was bright with stars and this full moon. Isabel and I found each other first. We didn't know how to speak, but we could communicate anyway. We walked for a while, but we could both feel someone else.

LIZ

Michael.

MAX

He said he saw us, but that he was afraid. So he just watched us for a long time. When he finally revealed himself, he was standing on this rock. Just like you'd expect from Michael. "Here I am. Deal with me." He said it was the hardest thing he's ever had to do...to trust us.

LIZ

So, um, how did you guys end up getting separated?

MAX

We all saw the headlights at the same time. Isabel took my hand. We knew we'd be safe as long as we stayed together. I held my hand out for Michael. I knew he wanted to. He just wouldn't take it. So we just looked at each other for a long time. Wouldn't see him again for 3 years.

Cut to:

		11	INT. MESALIKO RESERVATION CAVE - NIGHT (From Roswell Episode 110: The Balance)

RIVER DOG

Man who lived in this cave when I was a boy was not like us. Some of the elders believed he was an evil spirit, so they decided to test him. He was invited into the sweat, just like I invited your friend. His reaction was quick and severe. Within a minute, his eyes were white, and he developed a fever.

MAX

Just like Michael.

RIVER DOG

Only it took the symptoms longer to show up in your friend. That's why I dismissed him at first. But when you told me he was sick, I knew he was another visitor.

MARIA

That's an interesting way to put it.

RIVER DOG

Well, that's what he called himself. In my language, the word is "nasedo". So that's what I called him.

ISABEL

And you knew Nasedo well?

RIVER DOG

I saved his life.

Cut to:

Max, Maria, Alex, Isabel, and Liz are holding the healing stones that River Dog has handed to them.

RIVER DOG

He told me to hold the stones until my energy activated them. And the balance would be restored.

MAX

And if you didn't?

RIVER DOG

He would die.

Cut to:

		12	INT. WEST ROSWELL HIGH SCHOOL - GYMNASIUM - NIGHT (From Roswell Episode 111: The Toy House)

Isabel and Max are having a private conversation during a high school basketball game.

ISABEL

Mom knows something.

MAX

What?

ISABEL

She was asking all these questions about you. She said you had secrets.

MAX

She said that?

Cut to:

		13	EXT. ROSWELL DIRT ROAD - NIGHT (From Roswell Episode 111: The Toy House)

Isabel and Max are alone, standing by their Jeep, a refinery in the background, discussing whether to tell their mother the truth about them.

MAX

What if mom found out it's all been a sham? If we took her family away from her, it would destroy her.

ISABEL

Maybe it would make us all closer.

MAX

I don't think so.

ISABEL

What are you saying, that if we tell mom the truth about us, she won't love us anymore?

MAX

I'm saying we'll never know the answer to that question.

ISABEL

Max. This isn't just your decision.

MAX

I know that.

ISABEL

Do you?

Cut to:

		14	EXT. FRAZIER WOODS - NIGHT (From Roswell Episode 112: Into the Woods)

Sheriff Valenti is surreptitiously following Max and Isabel as they go to check out the location of the "sighting". Kyle has been following his father and confronts him.

KYLE

How many times have I heard the stories, dad? How many times you sitting at home listening to grandma cry while grandpa spent the night chasing spacemen out in the woods? That's my role now, isn't it? It's ironic.

VALENTI

Kyle, wait.

KYLE

Now I know why you never wanted to see grandpa again. Because to him you were just a low priority!

Cut to:

		15	EXT. FRAZIER WOODS - CONTINUOUS (From Roswell Episode 112: Into the Woods)

Max and Isabel meet Michael and River Dog at the site of the "sighting". The Whirlwind symbol has been burned into the grass.

ISABEL

Oh, my God. It's the symbol from the cave.

MICHAEL

The white light, or whatever the hell that was, caused this?

RIVER DOG

Yes. It's a sign.

Max, Isabel, and Michael stoop down and hold out their hands, palms down, over the symbol, causing it to light up with a light blue glow.

RIVER DOG (cont'd)

It was meant for you.

MAX

What does this mean?

MICHAEL

That he's back. Nasedo's here.

Cut to:

		16	EXT. ROSWELL STREET - UFO CENTER- NIGHT (From Roswell Episode 113: The UFO Convention)

Sheriff Valenti is confronting Everett Hubble.

VALENTI

You got to my father when he was at his weakest, and you pushed him over the edge. Because of you, I had to have him committed.

	17	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 emanates from the car as he shapeshifts into a Hispanic male, and again pops something into his mouth from the container and pockets it.

VOICEOVER

Previously on Roswell: What Might Have Been ...

		1	EXT. ROSWELL STREET - COMMERCIAL DISTRICT - NIGHT ((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:

	2	EXT. WEST ROSWELL HIGH SCHOOL QUAD LAWN - DAY (From Roswell: What Might Have Been Episode 120: Limited Options

MAX

The time you spent with my mom worked wonders too.

LIZ

It was fun, really. I think your mom is great and the volunteer work she does at the sanitarium is very worthwhile. I might join her again sometime.

Cut to:

		3	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.

ISABEL (cont'd)

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

MAX

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

MICHAEL

I think we can sense him.

ISABEL

You mean ...

MICHAEL

Yeah, like we sensed each other when we emerged from the pods.

Cut to:

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

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

MARIA

(concerned)

Are you OK? Did you see anything? How come you quit so quickly?

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

ISABEL

Yes. No. Because I had no choice.

(struggles to explain the sensation she felt)

It ... it was like .. like I couldn't get a grip on his consciousness. It was so tantalizingly close, but ... nothing.

Cut to:

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

Michael, Max, Isabel, Liz, Maria, and Alex are discussing the metal book Michael found in the cave.

MICHAEL

(pointing to the book)

I think I know what it's trying to tell me ... I think I now know where our pods are.

Isabel and Max move in closer to Michael, intrigued.

MAX

Where?

ISABEL

How do you know?

MICHAEL

The visions were the same as when I lost my "balance", except for one. It was of a sign lying on the ground. The sign said "Pohlman Ranch".

Cut to:

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

Max is standing before the rock wall. 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.

Cut to:

	7	INT. ROSWELL SHERIFF'S DEPT. VALENTI'S OFFICE - DAY (From Roswell: What Might Have Been Episode 120: Limited Options

Valenti is sitting at his desk, talking to Deputy Green.

VALENTI

What about Trilling? Is he making any more waves?

GREEN

(hesitates slightly)

No, all's quiet on that front.

VALENTI

Let's keep it that way, OK? Don't encourage him if he comes up with something new.

GREEN

Yes, sir.

Cut to:

		8	INT. SCOTTY'S BAR AND GRILL - NIGHT (From Roswell : What Might Have Been Episode 122: Breathing Lessons)

Larry is talking to an inebriated private from Eagle Rock military base.

PRIVATE

I've seen things. 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.

Cut to:

		9	INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - DAY (From Roswell : What Might Have Been Episode 122: Breathing Lessons)

Kyle is asking Paulie about a pretty, blonde girl who is working on the combination of her locker in the background.

PAULIE

She just started today. She's hot, but a little strange.

KYLE

Strange? How?

PAULIE

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.

KYLE

(eyes the new girl with appreciation)

Strange can be good.

Cut to:

		10	INT. MAX EVANS'S BEDROOM - NIGHT (From Roswell : What Might Have Been Episode 122: Breathing Lessons)

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:

		11	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:

		12	INT. MICHAEL GUERIN'S APARTMENT - DAY (From Roswell : What Might Have Been Episode 122: Breathing Lessons)

Isabel is teaching Michael to slow dance. She 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:

		13	INT. CRASHDOWN - COUNTER - DAY (From Roswell : What Might Have Been Episode 122: Breathing Lessons)

Maria, Liz, and Kyle are talking. 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.

Cut to:

		14	INT. MICHAEL GUERIN'S APARTMENT - NIGHT (From Roswell : What Might Have Been Episode 122: Breathing Lessons)

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.

Cut to:

		15	INT. WEST ROSWELL HIGH SCHOOL GYMNASIUM - NIGHT (From Roswell : What Might Have Been Episode 122: Breathing Lessons)

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.

Cut to:

		16	INT. CRASHDOWN - NIGHT (From Roswell : What Might Have Been Episode 122: Breathing Lessons)

Max and Liz are walking towards a booth, still wearing their Spring Blast-Off finery.

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.

Cut to:

Max and Liz sitting in the booth.

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.

Cut to:

		17	INT. MICHAEL GUERIN'S APARTMENT - MORNING (From Roswell : What Might Have Been Episode 122: Breathing Lessons)

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.

Cut to:

		18	INT. MAX EVANS'S BEDROOM - MORNING (From Roswell : What Might Have Been Episode 122: Breathing Lessons)

Max makes 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 of the Desert Man. Max does the same. They hold hands with their free hand, close their eyes and concentrate. 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:

		19	EXT. LIZ PARKER'S BALCONY - DAY (From Roswell : What Might Have Been Episode 122: Breathing Lessons)

Liz is on her lounge writing in her journal.

LIZ (VO)

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

Cut to:

		20	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:

		21	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:

		22	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:

		23	EXT. WEST ROSWELL HIGH SCHOOL - QUAD - DAY (From Roswell : What Might Have Been Episode 122: Breathing Lessons)

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.

Cut to:

The new girl coming up behind Elana and Vanessa, who are standing by Isabel's table. The new girl 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.