ROSWELL: WHAT MIGHT HAVE BEEN - "The Witness" - ACT III - 08/28/02

ACT III


  19 INT. CRASHDOWN - 1 HOUR LATER

Alex and Isabel are seated at a booth. They both seem a little uncomfortable. A waitress is taking their order.

WAITRESS
So that's two mini meteor shower sundaes?
(teasing slightly)
Some kids order the super-nova and share.

ALEX
Thanks for the tip. The meteor showers are fine.

The waitress leaves.

ALEX
... and safer.

ISABEL
I'm really sorry Alex. I thought you saw me add the Tabasco to the popcorn.

ALEX
(embarrassed)
I must have been distracted.

ISABEL
It was an engrossing movie.

ALEX
(meeting her eyes)
It wasn't the movie.

Isabel smiles then lowers her eyes.

ALEX (cont'd)
I wanted tonight to be absolutely perfect. Because that's what you deserve. You're so ... so ...

Isabel looks at Alex expectantly.

ALEX
So--

The waitress interrupts by bringing them some water. She puts the glasses down on the table and leaves. Alex's head drops.

ALEX
(staring at the table top)
I wish I had a remote control for real life.

ISABEL
What?

ALEX
(looks up)
So I could fast forward to tomorrow. That's when I'll figure out just the right thing to say.

Isabel laughs.

ISABEL
That happens to me too. But wouldn't pause work as well? Then you could wait until it came to you.

ALEX
(relaxing)
Or rewind. It was there a minute ago.

ISABEL
I'm sure it was. Can we use the remote control to fast forward through boring things?

ALEX
Gym class?

ISABEL
And waiting for tow trucks.

ALEX
Yeah. And rewind and relive the good parts.

They continue their conversation, barely noticing the waitress arriving with their order.

Dissolve to:

  20 EXT. EVANS HOUSE - ONE HOUR LATER

Alex and Isabel walk up to the front door. There's an awkward pause. Alex takes a breath trying to calm his nerves. He doesn't notice that Isabel is doing the same thing. They move toward each other and kiss; their first passionate kiss. They pull back and gaze at each other.

ISABEL
That was very nice.

ALEX
(on cloud 9, almost breathless)
Yes, it was.

(pause)

ISABEL
I really had a good time tonight, Alex. I hate for it to end, but we both have school tomorrow, so ...

ALEX
Really!? You really don't want it to end? That's great! So ...
(beat)
... I'll see you tomorrow then?

ISABEL
(smiling)
Yeah, tomorrow. Goodnight, Alex.

ALEX
Goodnight, Isabel.

Cut to:

  21 INT. ISABEL EVANS'S BEDROOM - MOMENTS LATER

Isabel walks into her room still smiling. As she throws her jacket onto the bed, a ticket stub falls out of the pocket to the floor. Isabel picks it up and holds it for a moment; she can't quite bring herself to just throw it away. She sits down at her desk and writes "First date with Alex" on the stub, then places the ticket stub in a small box in her drawer. Closing the drawer, she notices the school newspaper on her desk, which is still open to Kyle's photo. She picks it up and brings it to her bed. She lies down on her stomach, leaning on her elbows, legs in the air with her ankles crossed.

ISABEL
(to herself)
All right, Valenti, this is your last chance to show me you are more than just a dumb jock.

Isabel puts her finger on the photo, closes her eyes and enters Kyle's dream. He and Paulie are laughing and fake punching each other on the shoulder as they walk down a school corridor. Kyle notices a dance poster and stops, then gives Paulie a soft back hand on the arm.

KYLE
Man, you are not gonna believe who just agreed to go to the dance with me.

PAULIE
Christina Aguilera?

KYLE
Better ... Isabel Evans!

Paulie is suitably impressed and high fives Kyle.

PAULIE
Score!

KYLE
Yeah, this is so righteous! Max Evans is gonna be so pissed off when he finds out.

PAULIE
(concerned)
Kyle, tell me you are not going out with Isabel just to get even with her brother.

KYLE
Of course not; that's just the icing on the cake!

PAULIE
Man, you had me worried there. I mean, Isabel Evans is a prime piece of meat--you wouldn't want that to go to waste.

KYLE
Hey! Don't talk about Isabel like that. She's a lady and deserves your respect.

PAULIE
Whoa! What's got into you? You never minded when I talked about Vicky that way.

KYLE
That was different. Isabel is different. Vicky ... Vicky is hot ...
(shakes his head in wonderment)
... man is she hot! ... but she isn't exactly picky about who she goes out with. As long as you have money to spend on her, she's happy. Isabel doesn't date just anyone. If you get a date with Isabel, you know she thinks you're special.

PAULIE
(joking)
So you must be feeling pretty special.

KYLE
(serious)
Yeah, I do.

Isabel breaks from the dreamwalk, smiling enigmatically.

Cut to:

  22 EXT. BITTER LAKE COUNTY ROAD - SAME

Michael is standing beside a mailbox on the side of the road. The mailbox is labeled "Appleton". Down the driveway is a small cabin, enclosed in darkness.

Cut to:

  23 INT. WEST ROSWELL HIGH SCHOOL HALLWAY - MORNING

Kyle and Tommy are at Kyle's locker, talking.

TOMMY
So how did your dad take it when you told him about flunking chemistry?

KYLE
Just like I thought--he hit the roof. But then Hanson came running in to see what was wrong, which forced my dad to act a little more civilized. By yesterday, he had calmed down enough to talk about it rationally.

TOMMY
So your plan to tell him at work so he wouldn't kill you worked.

KYLE
(smiling smugly)
Like a charm.

Kyle sees Liz and gets an idea. He gives Tommy a soft back hand on the arm, just before taking off.

KYLE
Hey, catcha later, bud.

Kyle rushes to catch up with Liz.

KYLE
Hey, Liz, wait up.

Liz stops, turns and smiles at Kyle's approach.

LIZ
What can I do for you, Kyle?

KYLE
(all smiles and charm)
Funny you should ask. I seem to be having this little problem with chemistry.

Cut to Max, who is watching Liz's conversation with Kyle, out of earshot and unobserved by either of them. He sees Liz laugh and starts to become a little uncomfortable with how much they seem to be enjoying their conversation.

MAX
(to himself)
They're just friends.

Cut back to Liz and Kyle.

LIZ
So I'll catch up with you later then, OK?

KYLE
(smiling)
OK, this is great. I really appreciate it; I definitely owe you for this one.

Liz gives him a smile that tells him she intends to collect on that IOU, then continues walking in the direction she was headed when Kyle stopped her. She sees Isabel and they exchange friendly greetings as they pass each other. Kyle turns when he hears Isabel's voice.

KYLE
(exuberantly)
Isabel!

ISABEL
(imitating him)
Kyle!

KYLE
So, what's new with you?

ISABEL
Not much, what about you?

In the background we see that Max, who was about to leave after seeing Liz leave, stops short with a "what the hell" look on his face. He stays to observe them. They do not see him, nor does he approach them.

KYLE
Well, since you asked ... I had a dream about you last night.

ISABEL
I kn--

She stops herself just in time then smiles sweetly.

ISABEL (cont'd)
Really? I hope it was a good one.

KYLE
(sincerely)
Wouldn't it have to be, with you in it?

In the background we see Alex coming out of a classroom directly behind Isabel. He stops when he sees her with Kyle. She does not know that he is behind her watching. Isabel laughs lightly at Kyle's remark. She briefly, but affectionately, touches him on the arm as she responds. Alex tenses slightly and Max's eyes widen in disbelief. Kyle notices Alex but makes no indication that he does to Isabel.

ISABEL
Well, I can't say so ... but you can.
(beat)
So, can I ask what it was about?

KYLE
Sure, I dreamt I asked you to the dance ...

He gestures towards the posters on the walls.

KYLE (cont'd)
... and you said yes.
(beat; pouring on the charm)
What are my chances that my dream will come true?

Isabel's laugh is the type you laugh when you are uncomfortable. Alex recognizes it and smiles. Unseen by Alex, Isabel smiles cryptically at Kyle.

ISABEL
I'd say 50-50.

Alex's smile fades immediately. Kyle is pleasantly surprised.

ISABEL (cont'd)
Look, I have to meet someone, so I'll talk to you later, OK?

KYLE
(smiling)
OK!

Alex steps back so that Isabel does not see him as she continues walking in the direction she was headed when Kyle stopped her, which takes her past Max. She's in a hurry so she just smiles and says "Hey" as she passes. She does not notice the look of consternation on his face as he returns her greeting. The camera cuts back to Alex as he steps into the hallway and comes face to face with Kyle, who smiles smugly at him.

ALEX
She didn't say yes.

KYLE
She also didn't say no.

Cut to:

  24 INT. WEST ROSWELL HIGH 2nd FLOOR ERASER ROOM - DAY

Max, Michael, Isabel, Alex and Liz are all crammed into the eraser room. There is a knock on the door and then Maria enters and closes the door behind her.

MARIA
(noticing the cramped conditions)
This is cozy.

MAX
This will also be quick. I just wanted to let you know that there's a possibility Larry hasn't moved on to other things like Jen told you two.
(he indicates Liz and Maria)
He may still be digging into the Hubble affair.

LIZ
What makes you think so?

MAX
I saw Larry talking to Ty Appleton.

MARIA
Who's Ty Appleton?

MICHAEL
The guy who gave me a ride out to Pepper's Café, the night Valenti shot Hubble.

ISABEL
(nervous)
You mean he witnessed it!?

MAX
No ... at least not that we know of.

MICHAEL
His turn off came up about a quarter mile before Pepper's. He dropped me off there and continued south. I walked east till I got to the café and he never came by that I saw.

LIZ
So then he isn't a real threat.

MAX
We don't know for sure. We do know he can place Michael in the vicinity at the time of the shooting. That's not good.

ISABEL
(under her breath)
Nothing ever is.

MARIA
So, what can we do about it?

MAX
I'm not sure about that either. Anybody got any ideas?

ALEX
We could ask Ty.
(at their surprised looks)
Without actually asking him ... You know what I mean.

MICHAEL
I tried; he wasn't home.

MAX
You what!? What did you do, Michael?

MICHAEL
(defiant)
Nothing! I just stopped by his place but he wasn't there, and he didn't come home all night.

LIZ
(concerned)
You were there all night?

MICHAEL
I thought it was important. Unfortunately it didn't get us anywhere.

MAX
I don't think you should be the one asking him anything anyway. It would be too suspicious.

ISABEL
I might be able to find out something.

MAX
How?

ISABEL
I could go to his place ... pretend to have car trouble ... ask to use his phone. I ... I could mention I've heard there were sightings near there, see if I can get him talking about the UFO Center and Larry.

MAX
Sounds plausible, but I don't like the idea of you doing this alone.

ISABEL
Alex can be with me.

Alex stiffens slightly.

ALEX
(hesitantly)
Um, yeah, sure. No problem.

LIZ
What if he's at work? Do you know where he works?

MAX
I practically know his life story from all his visits to the UFO Center. Isabel, you should call the Cheese Factory to check before trying his home. Also, I'll be going into work by five; if he shows up there I can call you.
(beat)
So, um, I guess that settles it.

They all nod and voice their agreement. The meeting breaks up and they all leave the eraser room.

Cut to:

  25 INT. ISABEL EVANS'S BEDROOM - DAY

Isabel has a dress, purse and shoes laid out on her bed and she uses her powers to adjust the color of her purse and shoes. She's looking through her scarf drawer when there is a knock on her door.

ISABEL
Come in.

Max enters and shuts the door behind him.

MAX
So, is Ty at work?

ISABEL
No, he didn't go in today, so Alex went ahead to his house. He'll call me if Ty shows up.
(at Max's surprised look)
He said something about there being no reason we both should be sitting around doing nothing but waiting. Do you mind dropping me off there on your way to work?

MAX
No problem.
(glances at the outfit spread out on her bed)
What's with the outfit? It doesn't seem ... appropriate ... for a stake-out.

ISABEL
(with a knowing smile)
I just want to look attractive when I see him. I've noticed guys are more ... open and ... less aware of what they are saying, when I look my best.

Max smiles, then a look of concern crosses his face.

MAX
(trying to sound casual, but his anxiety shows through)
Speaking of attracting guys ... what's with you and Kyle? When did you two become an item?

ISABEL
What are you talking about?

MAX
I saw you with him at school today. You were being awfully friendly with him, considering we're not sure we can trust him.

ISABEL
Well, as the old saying goes, "Keep your friends close, and your enemies closer."

MAX
Do you have to get that close?

ISABEL
What, I'm not allowed to enjoy my work a little? Besides, Kyle seems like a good guy, deep down. He may not be an enemy after all. And, he's someone I can have fun with, without getting too involved.

MAX
And why does he want to be with you?

ISABEL
Excuse me!?

MAX
Oh! No, no, no... That came out wrong. I mean, do you think he has an agenda?

ISABEL
Yes. I think he's trying to get back at you because of Liz. And, it seems to be working.

Isabel gives him a mischievous smile, and Max grimaces, slightly chagrined for falling into Kyle's trap. Then Isabel's demeanor suddenly changes. With a sigh she sits down on her bed.

ISABEL
(despondently)
Oh, Max. Why does it have to be this way? Why do we constantly have to worry that people are out to get us? Why can't things just be normal?

Max sits beside her on her bed and puts his arm around her in comfort.

MAX
(consolingly)
Because we're not normal and our lives will never be normal.

With a wave of his hand he changes the color of her shoes to green and her purse to orange, neither of which are flattering with her dress.

MAX (cont'd)
(teasing)
But do you really want to be normal?

Isabel waves her hand over the shoes and purse, changing them back to a matching color. She smiles at Max.

ISABEL
I suppose not.

Cut to:

  26 INT. UFO CENTER - TWO HOURS LATER

Max is working on an exhibit. Ty arrives and heads straight for Larry. Max notices and surreptitiously pulls a cell phone from his pocket and dials a number.

Cut to:

  27 EXT. BITTER LAKE COUNTY ROAD STAKE-OUT POSITION - CONTINUOUS

Isabel and Alex are there, in Alex's car, parked behind some shrubbery, able to see Appleton's cabin, without being seen. Isabel looks exceptionally pretty. Her phone rings and she digs in her purse to get it.

Cut to:

  28 INT. UFO CENTER - CONTINUOUS

Max starts speaking even before Isabel can utter a greeting.

MAX
(sotto voce)
They're definitely up to something. Ty just arrived and it's obvious they're planning on leaving together.

We can see them making leaving motions.

MAX (cont'd)
I don't think they're heading to Ty's cabin. I heard Larry saying something about not being late for their appointment.

Cut to:

  29 EXT. BITTER LAKE COUNTY ROAD STAKE-OUT POSITION - CONTINUOUS

ISABEL
(to Alex)
Let's go! UFO Center!

Alex starts the car and pulls out from behind the shrubbery.

ISABEL
(into phone)
Try to keep them from leaving. We'll get there as soon as possible and follow them.

MAX (VO)
OK. Maybe I can interest him in the Foo Fighters.

There's a click as Max hangs up on his end.

ISABEL
(puzzled, to Alex)
Foo Fighters? Why would he talk to Ty about a rock band?

Cut to:

  30 INT. ROSWELL SHERIFF'S DEPT LOBBY - FIFTEEN MINUTES LATER

Amy walks into the Sheriff's Station and approaches Deputy Blackwood, who is behind the counter.

AMY
I'm here to see Jim. Can I just head to his office?

OWEN
(nods and smiles slightly)
I'm sure he won't mind seeing you.

AMY
(flattered, smiles back)
Thank you.

Amy heads towards Valenti's office.

Cut to:

  31 EXT. UFO CENTER - MOMENTS LATER

Max watches helplessly as Larry and Ty drive off in Larry's car, then breathes a sigh of relief when he spots Isabel and Alex driving up. He motions to them to follow Larry and Ty.

Cut to:

  32 INT. ALEX'S CAR - MOMENTS LATER

ISABEL
They can't be!

ALEX
They are. He's turning.

Alex pulls over and parks before the turn. He and Isabel look at each other with dread, then turn back to stare out the windshield of his car.

ALEX
This can't be good.

ISABEL
Nothing ever is.

Cut to:

  33 INT. SHERIFF VALENTI'S OFFICE - SAME

Valenti is sitting behind his desk filling out paperwork. He's scowling and turning pages roughly, indicating he's not in the best of moods. There's a knock on his closed door. He does not look up.

VALENTI
(barks out with authority)
Come in!

The door opens and Amy steps inside. Valenti is still engrossed in his paperwork.

AMY
(kidding)
I feel like I should salute.

Valenti looks up startled, then his face lights up with pleasure.

VALENTI
Amy! How nice to see you!

AMY
(teasing)
Are you sure? Because you sounded a little gruff when I knocked on the door.

VALENTI
(slightly embarrassed)
Oh ... um ... sorry about that. Um ... Hanson's been ... well ... I thought you were someone else.
(beat)
What brings you here? Not that you aren't welcome! You are always welcome.

Pleased and flustered by his remarks, Amy smiles, then chuckles nervously.

AMY
Thank you, Jim. Anyway, the reason I came ... I've been giving your dinner idea some thought ...

VALENTI
(eagerly)
And ...?

AMY
I think--

Amy is interrupted by the sound of an argument taking place out in the lobby. She turns to look in that direction, then back at Valenti with a concerned look on her face. Valenti stands.

VALENTI
(annoyed)
Sorry. I hope you don't mind but I better go see what that's all about.

AMY
(understandingly)
No problem.

Valenti brushes past Amy as he quickly exits out his doorway and into the hallway.

Cut to:

  34 INT. ROSWELL SHERIFF'S DEPT - LOBBY - CONTINUOUS

Deputy Blackwood and Deputy Hanson are trying to calm down Larry. Ty Appleton is standing off in the corner, trying not to get in the way.

HANSON
I swear to you, Deputy Green isn't here; he's on a call.
(under his breath to Owen)
No wonder he was so anxious to volunteer for it.

LARRY
(shouting; extremely agitated)
You're lying! You can't fool me! It's a conspiracy! You just don't want me talking to someone who will listen.

OWEN
I assure you, sir, we are listening.

HANSON
(under his breath to Owen)
We don't have a choice.

Owen gives him a warning look out of the corner of his eye.

LARRY
I demand--

Valenti enters the lobby, with Amy close on his heels.

VALENTI
(shouting over Larry)
What's this all about!?

Cut to commercial.

END OF ACT III


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