ROSWELL
WHAT MIGHT HAVE BEEN
"Limited Options"
(Episode #120)
Story By
Erica Cavin and Joan Pickering
Written By
Erica Cavin and Joan Pickering
with contributions by
TeeJay
Beta Tester Draft |
04/19/03 |
Final Draft |
05/12/03 |
Posted |
05/14/03 |
This is an unofficial project. It is not sponsored, licensed, or approved
by Warner Brothers, Jason Katims Productions, or Regency Television. Not affiliated with
Fox, Fox Searchlight, Tribune, Time Warner or the WB or UPN or parent company Viacom.
No copyright infringements intended.
Original contents copyright (C) 2003 by
Roswell: What Might Have Been
TEASER
|
1 |
INT. CRASHDOWN - MAIN DINING
AREA - MORNING
|
It's pre-morning rush; Liz starts the coffee then walks over to the back booth
where Maria is sitting with Alex. There's a band audition flyer and some sheet music
on the table and a heated discussion going on. Liz sits down next to Alex.
ALEX
You have us doing too many pop songs! Life isn't just a top ten tune
you know.
MARIA
Trust me, I'm very aware of that.
Maria shifts slightly so that she faces the kitchen pass-through window. In a
practiced move, Michael pretends to check for new orders without acknowledging
anything past the boundary of the kitchen, then heads for the grill.
MARIA (cont'd)
They don't make top ten tunes about my life.
ALEX
No, I think you'd have to go to the Country Western charts for what we go through ... "I Can't Fall in Love With You Darlin', Cuz An Alien Abducted My
Heart."
Liz smiles to herself, clearly thinking that this isn't always a bad thing, then looks
sympathetically at her friends.
MARIA
Why do we care? Why do we let ourselves get sucked into that alien abyss?
ALEX
(thoughtfully)
Because they've touched a part of our hearts that no one else can reach.
Liz nods.
MARIA
(sighs)
It figures. Michael touches my heart, and his goes cold. How can he be so stoical about this? I know, deep down, he misses me.
(beat)
God, he just makes me so angry sometimes!
She hits the table with her fist for emphasis. Then her anger turns to
determination.
MARIA (cont'd)
If he would just stop ignoring me, then maybe I could get through to him. I've got to find a way to make him notice me.
ALEX
(thinks for a moment, then half in sympathy, half in jest)
You could try the aquabra again.
Maria looks thoughtful, then without a word she gets up and goes out the swinging
door towards the back.
ALEX
(calling after her)
I was only joking.
Cut to:
|
2 |
INT. CRASHDOWN - KITCHEN -
CONTINUOUS
|
Michael is stacking plates near the grill. We hear someone moving near the entry
to the kitchen. Michael tenses slightly but doesn't look up.
MARIA (OS)
(with authority in her voice)
The grease trap needs cleaning; make sure you do it this week.
Michael freezes.
Cut to:
|
3 |
INT. CRASHDOWN - BOOTH -
CONTINUOUS
|
ALEX
(attempting nonchalance)
Has Max said anything to you about Isabel and Kyle--
Alex stops at the sound of the front door opening. Amy comes in and hurriedly
walks over to Liz and Alex.
AMY
Liz, is your father around? I need to discuss an order.
LIZ
He's in the storeroom.
AMY
Thanks.
She exits out the swinging door towards the storeroom.
ALEX
So, about Isabel and Kyle--
Alex is interrupted once again, this time by Michael bursting through the swinging
door and heading straight for Liz; Maria follows.
MICHAEL
Tell me she's lying!
LIZ
Huh?
MICHAEL
Maria's trying to tell me she's my boss. Tell me she's lying.
MARIA
(to Alex)
Did you hear that? He remembers my name.
Michael glares at Maria.
MARIA (cont'd)
(triumphantly)
And eye contact! That's the first time in a week!
Michael looks at Liz again.
MICHAEL
(to Liz, impatiently)
Well?
LIZ
Well ... technically ...
MICHAEL
(horrified)
No! Damn it! How can she be my boss? She's just a waitress. Your dad and mom are the owners.
LIZ
Whenever my dad and mom both have to be away, they put me and Maria in charge, which technically makes both of us your bosses.
At Michael's shocked expression, Liz quickly adds:
LIZ (cont'd)
But only when they're out of town and that hardly ever happens.
MICHAEL
How often is "hardly ever?"
LIZ
A couple ... three ... maybe four times a year.
MICHAEL
(exasperated)
Man, this job thing just keeps getting worse and worse.
Before Maria can reply, Amy comes through the swinging door and notices her and Michael.
AMY
Oh good, I'm glad I caught you. I was thinking it would be nice to find out what Kyle's favorite pie is so we can bring it next week for dinner at Jim's. Would
you mind asking him? Thanks. Have a good day at school.
She gives Maria a quick hug and Michael a slight frown, then exits out the front
door. Michael glares at Maria with suspicion. In the background we can see Jeff and
Nancy in the kitchen through the pass-through window; the kids do not see them.
MICHAEL
Why are you having dinner with the sheriff?
MARIA
He and my mom think it will be a good way for them to reconnect with Kyle and me; to know what's going on in our lives.
MICHAEL
(suspicious)
Don't you mean to know what's going on with Max?
In the background we see Jeff and Nancy exchange glances at this remark; they
turn towards the kids with a puzzled look to eavesdrop on the conversation.
LIZ
There's nothing for him to learn from her; Maria's already proven that.
MARIA
Thank you.
ALEX
Besides, I doubt this has anything to do with Max; I think Valenti really just wants to get to know Maria's mom better.
MARIA
(shudders at this)
Please! Do you have to remind me?
ALEX
Sorry.
MICHAEL
And I think you all have your heads in the sand. Valenti has it in for Max. He'll do anything to get the information he wants.
(to Maria)
You better make sure he doesn't succeed.
In the background Jeff and Nancy exchange worried looks, then exit the kitchen
towards the back room. Maria does a quick scan to see if anyone heard Michael but
just misses seeing Jeff and Nancy. Satisfied that no one heard, she turns back to
Michael.
MARIA
(stage whisper)
And you better lower your voice before someone hears you.
Michael glares at Maria. Behind them Jeff and Nancy are looking at them with
concern through the window in the swinging door. The camera pulls back to just
outside the Crashdown front window. We sense someone is watching them.
END OF TEASER
ACT I
|
4 |
EXT. WEST ROSWELL HIGH SCHOOL QUAD - NOON
|
Isabel is at a table with two of her friends (previously seen in Leaving Normal and
The Toy House.)
ELANA
So, Isabel, which of your many admirers have you deigned to go to the dance with?
ISABEL
I don't know yet. It will either be Kyle or Alex.
VANESSA
(disdainfully)
Really, Isabel, I know you can do better than Kyle Valenti or Alex Whitman.
ISABEL
What? What's wrong with Kyle or Alex? Kyle is a star athlete and Alex and his band won a KROZ concert contest. They're not exactly losers.
ELANA
True, but they are hardly up to your social station.
ISABEL
But I like them. Besides, there's more to a person than their social station. Alex and Kyle are like diamonds in the rough.
VANESSA
(shocked)
Isabel! I'm appalled! You, of all people, should know that we ...
(indicates the three of them)
do not have to do the digging, cutting, and polishing to get diamonds!
ELANA
You know, we're really becoming concerned about you. First you actually waited tables at the Crashdown, and then you start spending an inordinate
amount of time with Liz Parker and Maria DeLuca ...
(totally bewildered)
What's happened to you Isabel?
ISABEL
(deep in thought)
Life ...
As Isabel descends into her reverie, the camera pans over to Alex and Maria
sitting at a table eating lunch. Max and Liz can be seen in the background, nestled
together under a tree, talking quietly. Max is leaning against the tree and Liz is leaning
against his chest, but looking up at Max; his arms are wrapped around her. They are
completely engrossed in each other.
ALEX
(nodding toward Max and Liz)
The school could be attacked by giant trolls and I bet they wouldn't even look up.
MARIA
Giant trolls? Alex, as a friend, I'm telling you you're watching way too much Buffy.
ALEX
(still looking at Max and Liz)
It's just amazing.
MARIA
What is?
ALEX
Life's little idiosyncrasies.
MARIA
Huh?
ALEX
(turns to Maria)
Think about it. Just a week ago we were both pretty sure we would be going to the dance with Isabel and Michael, and Liz and Max were depressed because
they couldn't even go out with each other ... and now the tables have turned.
MARIA
Yeah. Life sucks!
Cut to:
|
5 |
EXT. WEST ROSWELL HIGH SCHOOL QUAD LAWN - CONTINUOUS
|
LIZ
Isn't life wonderful!?
MAX
(teasing)
Don't change the subject. You were telling me what you got me for my birthday.
LIZ
(teasing back)
No, you were trying to get me to tell you and I was ignoring you.
MAX
Is it bigger than a breadbox?
LIZ
Forget it, Max, I'm not going to tell you. You are just gonna have to wait until tonight to find out.
MAX
This is the most incredible day!
LIZ
I know. We have so many things to celebrate: the end of being grounded, your 17th birthday, Isabel's 17th birthday and our first date in three weeks.
(beat, teasing again)
You sure you're not too old for me, now that you're seventeen? Are you sure your worldly--no, make that other worldly ways won't be a bad
influence on me?
MAX
(smiling)
No, I'm pretty sure I convinced your father I'm a stable, responsible young man who won't lead his daughter down the dark and dangerous roads of life.
LIZ
Yes, you really impressed him during that trip to Hondo you two took for supplies.
MAX
I couldn't believe it when your dad paid me for helping out that morning. I would have paid him for an opportunity to convince him to let me be
with you.
(beat)
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.
(beat)
So, like I said ... Life is wonderful!
MAX
Can't argue with that.
Max leans down and they kiss.
Cut to:
|
6 |
INT. CRASHDOWN - STOREROOM- CONTINUOUS
|
Jeff and Nancy are alone in the storeroom with the door closed.
JEFF
Why do you suppose Michael thinks the sheriff has it in for Max?
NANCY
I can't even imagine. I know we had some concerns before, but nothing the sheriff would be interested in. And after we spent time with Max we both felt we
could trust him with Liz; that's why we agreed to let her see him again.
JEFF
True, but how much do we really know about Max; or even Michael and Isabel? Liz never got into trouble when she just hung out with Maria and Alex but
now ...
(beat)
I think it wouldn't hurt to find out a little more about them. Maybe talk to some other people who know them; get some different perspectives.
Cut to:
|
7 |
INT. ROSWELL SHERIFF'S DEPT. VALENTI'S OFFICE - SAME
|
Valenti is sitting at his desk, talking to Owen.
OWEN
That series of burglaries could become a real problem.
VALENTI
(sighs)
Yeah, I know.
(rubs his brow)
Mr. Delgado from the hardware store just reported a break-in this morning. Looks like--
There's a knock at the door.
VALENTI (cont'd)
Come in.
Deputy Green enters carrying some reports.
GREEN
Sorry to interrupt. Here are the latest stats on the rash of burglaries.
Valenti nods toward the desk. Green puts them down.
GREEN (cont'd)
Ty Appleton called in another incident.
VALENTI
Oh?
GREEN
I think he's trying to make up for what happened with Trilling.
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.
Green leaves. Owen and Valenti share a silent exchange. Owen gives Valenti a
questioning look and Valenti nods. Owen leaves, closing the door behind him. Valenti
unlocks a desk drawer and presses a concealed latch. Two files are in the false
bottom of the drawer: One is an official file marked "Hubble, Everett". He pulls out the
thin one underneath. The camera focuses in on the label: it's an unofficial file marked
"Green, Ethan".
|
8 |
INT. UFO CENTER - MAIN EXHIBIT AREA - DAY
|
Jeff enters from outside and comes down the stairs. He sees Milton, surrounded
by some visitors, and approaches.
MILTON
And that concludes our tour. I hope you enjoyed your visit. Please come again, and tell your friends. The truth is out there, and together we can find
it.
The visitors depart, muttering thank yous. Some head for the stairs and others for
the gift shop. Milton sees Jeff.
MILTON (cont'd)
Mr. Parker! It's nice of you to visit. Is there anything in particular that I can show you?
JEFF
Actually, I came here for information.
MILTON
(gives him a knowing look)
And you've come to the right place. I suspected you might be a believer. Is there some unexplained phenomena you need help with?
JEFF
(chuckles slightly)
Um ... no. The information I need isn't paranormal. Actually I wanted to talk to you about your employee--Max Evans.
MILTON
Max? Is something wrong?
JEFF
No, nothing's wrong. It's just ... well, he's a friend of my daughter...
MILTON
Oh, right Liz. She comes by often. Seems like a very nice girl. I haven't had much chance to talk to her though; they always want privacy and usually
end up going in the supply closet.
Milton doesn't notice that Jeff blanches from this information; he just keeps on
talking.
MILTON (cont'd)
So, what did you want to know about Max? He's a fine young man and an excellent employee; very conscientious, always gives 100%, very personable
with our visitors--you weren't thinking of stealing him away from me were you?
Because I'd definitely put up a fight; I--
JEFF
No, no, nothing like that. I just wanted to know what other people thought of him, and you've told me all I need to know. Thank you.
Jeff turns to leave.
MILTON
Glad I could be of help. Come back any time.
Jeff looks over his shoulder, smiles diplomatically, waves and heads towards the
stairs. Milton joins some visitors by an exhibit. Larry steps out from behind a
column.
LARRY
Jeff!
Jeff stops, turns and sees Larry approaching.
JEFF
(warily)
Yes? What can I do for you?
LARRY
Actually, it's what I can do for you. I hear you want to know more about Max Evans. I don't blame you for checking up on him ... strange things happen
around that boy.
JEFF
(concerned)
Strange? What do you mean, strange?
Cut to commercial:
END OF ACT I
ACT II
|
9 |
INT. WEST ROSWELL HIGH SCHOOL AUDITORIUM - DAY
|
Alex, Maria, and the rest of the band members: Chris, Marcos and Nicky, are
there, as are other bands. Elana and Vanessa, and the rest of the dance committee
who will be choosing the band, are seated in the front row. The auditioners are
scattered among the seats in the auditorium. There is one set of drums on stage, to
be used by all the auditioners. Alex, Marcos and Nicky are holding their guitars and
Chris a pair of drumsticks. Chris is "drumming" on the back of the seats. Marcos and
Nicky are tuning their guitars. Alex, his back to the stage, is talking with Maria.
MARIA
So, we'll start with "Catch Your Breath", follow that with the Chili Peppers', "Under The Bridge", then my song--
ALEX
Your song? I thought it wasn't finished. You were having trouble with the ending, remember?
MARIA
Actually, you gave me an idea for the ending.
ALEX
(pleased)
Yeah? How does it go?
Maria sings the last two stanzas of the song a capella. Others in the auditorium
turn and listen.
MARIA
I just need to know
why I love him so
I just need to know
why I can't let go
Could it be
possibly
he knows my secret
he holds the key
to my heart?
There is a smattering of applause from others in the auditorium.
ALEX
That's nice.
Chris, Nicky and Marcos nod and mutter words of appreciation. Maria smiles at
the attention. Vanessa stands up from the front row and makes an
announcement.
VANESSA
OK, first up is ... The Whits?
Alex, Maria and the others climb the stairs to the stage and start to set up. Elana
and Vanessa exchange stunned looks.
ELANA
(shrugs)
She must have chosen Kyle.
Cut to:
|
10 |
EXT. NORTH MAIN STREET - NIGHT
|
Max is alone in the Jeep. He is smiling as he drives.
Cut to:
|
11 |
INT. CRASHDOWN - FRONT DOOR - CONTINUOUS
|
Liz is by the door, holding a present. Full of barely suppressed excitement, she
scans the passing cars.
|
12 |
EXT. CRASHDOWN -
CONTINUOUS
|
Max pulls up in the Jeep outside the Crashdown. Before he can completely turn
off the engine, the door of the Crashdown bursts open and Liz runs over to the Jeep.
She moves so fast that her feet hardly seem to touch the ground; she's propelled by
pure joy. In one fluid movement, she tosses the present onto the back seat, grabs the
top of the windshield with one hand and the back of the passenger seat with the other,
and vaults over the door into the Jeep. Max is amused, pleased and stunned, all at
the same time.
LIZ
(ecstatic)
Let's go!
Max starts the car.
MAX
(teasing)
Have you been keeping something from me? I thought you could only fly in dreams.
LIZ
(teasing back)
Didn't you know I have special powers?
MAX
(looking intently at her)
I've always known that.
They drive off.
Cut to:
|
13 |
EXT. SIDE STREET - SEVERAL MOMENTS LATER
|
The Jeep is parked by the side of the road. The top is now on the Jeep and Max
and Liz are inside, kissing.
|
14 |
INT. JEEP - CONTINUOUS
|
LIZ
(breathless)
Happy birthday.
MAX
Very.
More kissing.
LIZ
Thanks for stopping to put the top on.
MAX
Didn't want you to be cold.
More kissing.
LIZ
I'm much warmer now.
MAX
Yeah, me too.
More kissing.
LIZ
Maybe ... we should get to your party.
MAX
OK.
Even more kissing.
MAX (cont'd)
I don't think Isabel would mind ... entertaining the guests.
LIZ
OK.
|
15 |
EXT. SIDE STREET - CONTINUOUS
|
The Jetta approaches. Maria recognizes Max and Isabel's Jeep and slows down,
wondering why it's parked there, concerned that there may be a problem. The top is
on the Jeep so she cannot see clearly who is inside but she sees movement so she
glances in as she passes by, then shakes her head and drives off.
|
16 |
INT. JEEP - CONTINUOUS
|
LIZ
Max, I think someone almost stopped. What if someone does?
Max pauses. He reaches with one hand and waves it in the direction of the
hood.
MAX
We have car trouble.
LIZ
(smiles)
Oh. How long do you think it'll take to fix?
MAX
Ten minutes?
They kiss.
LIZ
Or fifteen?
Another kiss.
MAX
Maybe longer.
Cut to:
|
17 |
INT. EVANS HOUSE - LIVING ROOM - 20 MINUTES LATER
|
Max and Liz walk into the living room. There's a banner which reads "Happy
Birthday Isabel and Max." Everywhere they look it's crowded with people.
LIZ
(impressed)
I thought this was for a few close friends.
MAX
Well, you know Isabel.
LIZ
Apparently, a lot of people do.
Maria sees them and walks over.
MARIA
(teasing)
You two are fashionably late.
LIZ
We had car trouble.
MARIA
Right. Car trouble. Two honor roll students and that's the best you could come up with?
LIZ
Max, the educational system has failed us.
MARIA
I wonder what excuse Michael's going to give.
Cut to:
|
18 |
INT. CRASHDOWN KITCHEN - SAME
|
Michael is at the grill. He glances at the clock, which reads 7:20, and then towards
the back room. He's obviously irritated. Another cook eventually enters the
kitchen.
MICHAEL
Where have you been? I told you I had to leave early today.
RICKY
Sorry, man, I had, um ... car trouble, on my way back from dinner.
MICHAEL
(noticing the lipstick on his cheek)
Yeah, right.
Michael takes off his apron and tosses it in the laundry basket near the door, then
heads out to his locker for his jacket. As he is putting it on we hear Jeff and Nancy
coming down the stairs from their apartment above.
NANCY (OS)
We'll be seeing Amy, Chuck and Gloria at the Parent-Teachers' meeting tomorrow; we can find out if they--
Coming into view Nancy stops short, and stops speaking, as soon as she sees
Michael. Jeff almost collides with her on the stairs as he was right behind her. Nancy
glances at Jeff than smiles at Michael, trying to hide the awkwardness of the
situation.
NANCY
Hi, Michael.
MICHAEL
(nods but eyes her suspiciously)
Mrs. Parker.
JEFF
Are you taking off now?
MICHAEL
Yeah.
NANCY
(almost too enthusiastically)
Well, have fun at the party.
MICHAEL
Thanks.
He exits and Jeff and Nancy exchange worried looks.
Cut to:
|
19 |
INT. EVANS HOUSE - LIVING ROOM - CONTINUOUS
|
"At Last" by Etta James (streaming audio) plays here:
Max and Liz are gazing into each other's eyes as they dance.
MAX
Penny for your thoughts.
LIZ
I was thinking about gestalt.
MAX
(slightly teasing)
Gestalt!? Maybe I should have said a dollar for your thoughts. These are pretty heavy thoughts.
LIZ (cont'd)
(laughing lightly)
No, I was just thinking about how the idea that the sum of the parts is greater than the whole relates to us. When we're together, who we are ... who we can
be as individuals changes.
MAX
I know what you mean. It's ... overwhelming. When we were apart, nothing was right. Nothing felt possible ...
LIZ
(continuing the thought)
And now it's like I can do almost anything.
Liz smiles at Max, half embarrassed.
MAX
Like flying?
Liz laughs. Max spins her around.
Cut to:
|
20 |
INT. CRASHDOWN - STOREROOM - SAME
|
Jeff and Nancy are getting some supplies; they are still discussing what Larry told
Jeff.
NANCY
We have to consider the source. Remember what Amy said about Larry.
JEFF
You're right, we're just being silly; there's nothing to discuss with the others. I'm sure Max was just calming her down ... she was pretty shaken up by the
whole thing. And even if they never found the bullet, that doesn't mean Liz was shot,
right? I mean that's ridiculous, right? We would know ...
(beat)
It was just ketchup on her uniform, right?
NANCY
(musing)
You know, I thought it odd at the time but forgot about it--that uniform never ended up in the wash.
Cut to:
|
21 |
INT. EVANS HOUSE - LIVING ROOM - CONTINUOUS
|
"At Last" by Etta James (streaming audio) continues here:
Max and Liz are still dancing but no longer talking; they seem gloriously happy.
Maria walks over to Alex who is sitting on the couch watching the dancing. Alex
moves over to make room for Maria who sits next to him.
ALEX
Good party.
MARIA
Yeah.
Michael enters. Isabel looks at her watch then pointedly at Michael. He walks past
the couch.
ALEX
(to Maria, indicating Max and Liz)
They sure seem to be enjoying themselves.
MARIA
Yeah, but I don't think that's the party. I mean look at them; they're glowing.
Michael stops, startled.
MICHAEL
What?
MARIA
Glowing with happiness, Michael. Because they're together.
Michael looks at Maria. He meets her eyes for a second then walks off in the
direction of the front door.
ALEX
(sympathetically to Maria)
Come on, let's get something to drink.
Maria and Alex walk toward the kitchen. They pass Isabel who is chatting with
Elana and Vanessa. The camera stays with Isabel and her friends.
ELANA
So, Kyle is the winner?
ISABEL
Huh? Winner of what?
VANESSA
Your affections? Aren't you going to the dance with him?
ISABEL
Actually, I haven't made my decision yet.
(beat as she glances towards the kitchen)
And I was leaning more towards Alex.
Elana and Vanessa exchange puzzled looks.
ELANA
So ... then ... you weren't planning on doing too much dancing?
ISABEL
What are you talking about? Alex can dance.
VANESSA
(concerned)
I do hope you're not planning on getting up on stage to dance with Alex. I mean, that would be an embarrassment to us ALL!
Isabel looks at them as if they were speaking a foreign language.
ISABEL
Did you two spike the punch or something? Why in heaven's name would I dance on stage!
Elana and Vanessa exchange looks.
ELANA
You don't know?
ISABEL
Know what?
VANESSA
(as if stating the obvious)
That Alex and his band auditioned for the dance gig ... and they'll probably get it too.
Vanessa stops when she sees the stricken look on Isabel's face.
VANESSA (cont'd)
I'm sorry, we assumed you knew.
"All Star" by Smash Mouth (streaming audio) plays here:
Isabel turns to look at Alex who is returning to the living room, drink in hand. He is
engrossed in his conversation with Maria and does not notice Isabel staring at him.
The camera focuses in on them.
ALEX
(to Maria)
I'm fine with Isabel wanting to be friends.
Maria looks at him, surprised.
ALEX (cont'd)
Really. At one time it would have been a dream come true to be friends
with Isabel Evans. To be in her house. Invited to her birthday party.
This is my new plan. I'm gonna focus on the positive. I'm at a party.
Our band audition went great. See, I'm doing fine. I'm--
Kyle enters and walks over to Isabel. He says something to her and she
laughs. Elana and Vanessa both roll their eyes and move on to another
group of friends.
ALEX (cont'd)
... gonna get some air.
He puts down his drink and leaves. The camera moves to Isabel and Kyle.
KYLE
OK, so you haven't made up your mind yet. That's cool. That means I still have a chance to convince you.
(beat)
So ... what can I do to convince you to go to the dance with me?
ISABEL
(smiling, calculatingly)
I m not sure ... How good of a dancer are you?
KYLE
(puffing up his chest, ready to start boasting)
Well, I don't mean to brag, but--
ISABEL
(glancing at Liz as she interrupts)
Bearing in mind that I can check your references.
KYLE
(seeing who Isabel is referring to, becomes flustered)
Oh, um, well ...
(regains his composure and gestures to the dance floor)
How about if I just show you?
Cut to:
|
22 |
EXT. EVANS HOUSE - FRONT
YARD - SAME
|
Michael is standing alone outside. Alex approaches.
ALEX
Hey.
MICHAEL
Hey.
(beat)
Did Maria send you?
ALEX
No.
MICHAEL
Isabel? To drag me back in?
ALEX
(hollowly)
No.
He glances at the house. We can see the partygoers through the window; Isabel is
starting to dance with Kyle. Michael follows Alex's gaze.
MICHAEL
Oh. What's he doing here anyway?
ALEX
(sadly)
Hitting on Isabel.
Dissolve to:
|
23 |
INT. EVANS HOUSE - LIVING ROOM - 20 MINUTES LATER
|
Maria looks at her watch then makes her way to Max and Liz.
MARIA
(to Liz)
I need you for a rescue mission.
LIZ
Who needs to be rescued?
MARIA
Alex. He took one look at Kyle and Isabel and went outside. We should get him back here.
MAX
He might want to be alone for a few minutes.
MARIA
It's been more than a few minutes. Besides, I think Michael's out there too. Alex really doesn't need avoidance lessons.
LIZ
(to Max)
I should go.
MAX
I'll join you.
The three head toward the door. Isabel, who has moved on to a group of school
friends, looks up from her conversation and watches them go outside. She makes an
excuse and follows them.
Cut to:
|
24 |
EXT. EVANS HOUSE - FRONT
YARD - CONTINUOUS
|
Alex and Michael watch as Max, Liz, Maria and Isabel approach.
MICHAEL
(sullen)
What are you doing out here? Won't your guests miss you?
MAX
All our guests are important. We just wanted to make sure everything was OK and you two were enjoying the party.
MICHAEL
We're fine.
Max turns to Alex who nods. Maria seems unconvinced but before she can say
anything, Michael interrupts.
MICHAEL (cont'd)
But as long as you're all here, there's something I want to tell you.
ISABEL
What?
MICHAEL
(to Liz)
I overheard your parents talking today. They're planning on talking to Alex's parents and Maria's mom at the Parent-Teachers' conference tomorrow
night.
Liz waits, thinking there's more. There isn't.
LIZ
And ...?
MICHAEL
(to all)
And I think we should be there to find out what they talk about.
MARIA
What?
MICHAEL
(to Max, ignoring Maria)
It should be easy enough. It'll be crowded, they won't notice us.
MAX
It's a Parent-Teacher conference, not a Student-Teacher conference. There won't be any other students there, we'd stick out like a sore thumb.
Besides, why do you think it's necessary to spy on them?
MICHAEL
They're having a meeting. Last time all your parents met they were talking about reading your diaries.
LIZ
But that's blown over now. I think you might be overreacting. Our parents are all friends. They could be talking about getting together for a social
function.
MICHAEL
Then why did they stop talking about it as soon as they saw me?
ISABEL
Michael, not everything's a conspiracy.
MAX
Right, things are fine.
MICHAEL
You mean things are fine between you and Liz. Take off the rose-colored glasses, Maxwell, and look around. There are dangers everywhere.
MAX
(firmly)
Michael, I am looking around.
(he meets Liz's eyes)
I have so many reasons to be careful, to make sure we are safe.
(turns back to Michael)
I can watch out for us and be happy. I'm learning that the two aren't mutually exclusive.
MICHAEL
And I think you and Isabel are being overly lax.
ISABEL
Excuse me?
Michael points at Kyle, who can be seen through the living room window talking to
Elana and Vanessa, who are trying their best to ignore him.
MICHAEL
What were you thinking, inviting Kyle Valenti here?
MAX
Isabel asked Kyle because she's keeping an eye on him.
Alex perks up at this information.
MICHAEL
(to Isabel)
You and Max should never have allowed Kyle to come here; you don't invite your enemies into your home.
Alex moves closer to Michael, as if in support.
LIZ
I'd hardly call Kyle an enemy.
MICHAEL
No, I don't suppose you would.
Max puts his arm around Liz and glares at Michael for his verbal attack on her but remains calm in his response.
MAX
Granted, we don't know if we can trust Kyle, but just what do you think he is going to do?
MICHAEL
He could search the house. The healing stones and the orb are here.
ISABEL
(to Michael, incredulous)
Do you actually think Kyle came to a birthday party to look for alien artifacts?
(sarcastically)
I know, the sheriff sent his son to find Max's alien identification card. God, I suppose you could be more paranoid but you'd have to stay up nights working
on it.
MICHAEL
It's not paranoia when they really are out to get us.
MAX
You mean like you think Valenti is still out to get me?
MICHAEL
You don't?!
MAX
He may still want to know the truth but he doesn't want to harm us ...at least not anymore. And I really don't think his having dinner with Maria's mom is a
ruse to interrogate Maria about me or that Kyle is here to unearth "unearthly" objects.
There's no threat here; why can't you just relax and enjoy the party?
MICHAEL
We can't let down our guard, Max. The minute we do, that's when something bad will happen.
MARIA
Then maybe you better go back in the house to keep an eye on Kyle.
Michael glares at Maria but then heads towards the house.
MAX
I think we better go keep an eye on Michael.
There are nods and sighs from the others as they start back toward the house. As they enter the house, they pass Phillip and Diane who look concerned at the serious
expressions on the kids' faces. Isabel notices and forces a smile.
ISABEL
(quietly)
This is a party.
ALEX
Have fun or else?
Cut to commercial.
END OF ACT II
ACT III
|
25 |
EXT. ROSWELL SIDE STREET - LATER
|
Max pulls the Jeep over and turns off the engine. He leans over and gives Liz a long kiss.
MAX
(reluctantly)
I better get you home soon. I don't want your parents mad at me again.
LIZ
I know.
Liz takes out a small gift-wrapped box from her pocket.
LIZ (cont'd)
This won't take long.
She hands the box to Max. He takes it.
MAX
What's this? You gave me a present at the party.
(he touches the new cashmere pullover sweater he is wearing)
This is definitely my new favorite sweater.
LIZ
(touches the softness of the cashmere and smiles shyly at him)
Mine too.
(beat)
But that was your public present. This ...
(pointing to the box in Max's hand)
... is your private one.
Max looks surprised and intrigued.
LIZ (cont'd)
Open it.
Max unwraps the box and opens it. There's a silver ring inside. He takes it out and we can see that there's something engraved on it: an outline of a hand with a spiral on the palm.
MAX
It's wonderful.
LIZ
(pointing to the engraving)
That's a Native American symbol for healing.
MAX
Thank you.
(pause)
But ...
LIZ
(seriously)
I know. It's not something you could wear. The sheriff, Kyle ... we don't want to remind people about hand prints or healing.
(beat)
That's why it had to be a private gift. You can ...
Liz motions with her hand, waving it gently over the symbol on the ring.
LIZ (cont'd)
That way you can wear it safely and we'll still know that it's there. Would that be okay?
MAX
Yes.
He puts on the ring and holds out his hand to show her.
LIZ
(lightly)
It's you!
Max smiles.
LIZ
(intently)
It is you. That's what you are, Max. A healer. Someone who cares so much for others ... Maria told me what happened when I was shot. You were right there, so fast. You didn't stop to think about the consequences for yourself, or what Michael and Isabel might say, all you thought about ...
MAX
(finishing)
Was you.
Max takes Liz's hand and holds it. They look at the ring in silence for a moment, then Max uses his powers to erase the symbol and replace it with his and her initials (M&L) over an infinity symbol. Liz smiles at his choice.
Cut to:
|
26 |
INT. CRASHDOWN - MAIN DINING AREA - MORNING
|
Max comes into the Crashdown and takes a seat at the counter. Maria and Liz are working in the front, Michael is in the kitchen; we can see him through the pass-through window. Liz comes over to Max and gives him a kiss hello.
LIZ
(pleased)
What are you doing here?
MAX
Making up for lost time.
LIZ
I'll be at school in a little while.
MAX
I didn't want to wait.
LIZ
(blushing)
You saw me like nine hours ago.
MAX
It was a very long nine hours.
LIZ
Max, you were asleep for most of it!
MAX
That's the only thing that made it bearable.
Michael rings the bell, signaling that an order is ready.
LIZ
(to Max)
I'll be right back.
Liz gets the food; Michael nods in acknowledgement. Liz moves away from the pass-through window and Maria approaches with a new order; Michael turns away. Maria sighs and walks over to Max. She pulls out a clipboard and pen from behind the counter. The sheet of paper attached to the clipboard has brightly colored columns drawn on it. Maria stands poised by the counter, as if waiting for something.
MAX
(pointing at the sheet)
What's that, homework?
MARIA
No. It's a chart. Liz suggested it. We're trying to figure out if there's a pattern to--
(there's a crash from the kitchen)
Michael's little mishaps.
Maria makes a mark on the chart then holds it out to Max.
MARIA (cont'd)
Liz says that we're almost ready to create a new hypothesis for further testing.
MAX
Liz will make a scientist of you yet.
Maria smiles, but there's sadness in her eyes. She puts the clipboard away and heads for the coffee maker. She picks up a coffee pot and walks towards the tables, passing Liz who is on her way back to the counter.
MAX
Maria showed me her chart.
LIZ
My dad started complaining that you couldn't smell the food over the cypress oil. It gives Maria something to do when she and Michael work the same shift.
MAX
Is Michael having that much trouble with the new job?
LIZ
He was doing fine until he broke up with Maria. Now he works so hard at ignoring her that he keeps dropping and spilling things, messing up orders ...
MAX
Have your parents noticed?
LIZ
No, so far we've been able to cover for him.
In the background we see Maria drop off another order. Michael looks away. Maria heads back to the counter, then she, Liz and Max start sniffing the air, indicating that there's a burning smell coming from the kitchen. Liz pulls out the chart and hands it to Maria.
Cut to:
|
27 |
INT. WEST ROSWELL HIGH SCHOOL ERASER ROOM - ONE HOUR LATER
|
Michael, Isabel, Maria and Alex are all there. A school bell rings and Alex looks at his watch, obviously nervous that he is going to be late. They all turn towards the door when it opens. Max and Liz come in and see that everyone is there; Liz locks the door behind her.
ALEX
What's so important it couldn't wait 'til lunch?
LIZ
(nervously)
I don't know ... It probably could have waited ... it just caught me by surprise ...
MARIA
We just saw you fifteen minutes ago. What could have surprised you between leaving work and getting to school?
Liz glances at Max who puts his arm around her in comfort. At their stressed expressions, Maria continues.
MARIA (cont'd)
(concerned)
What? What is it?
MAX
Liz's parents stopped her as we were leaving for school ... so they could ask her ... what happened to the uniform she was wearing the day of the shooting.
There are shocked expressions all around, except for Michael who has "I knew it" written all over his face.
ALEX
What did you tell them?
LIZ
That I threw it away ... that it was so stained I figured it was ruined.
ISABEL
(nervous)
Do you think they believed you?
LIZ
(unsure)
I think so ... I'm not sure ... it's just that I never do that, so I'm not sure if they believed me or not.
(glancing at Michael)
I think Michael is right. My parents suspect something and they might be planning on talking to
(looking at Maria and Alex respectively)
your mom and your parents. I think maybe we should eavesdrop on that conversation.
ALEX
But how will we do that? Like Max said, we don't exactly look like parents of teens.
ISABEL
(contemplatively, looking at Michael)
No ... we don't, but ... with a little tweaking ...
Isabel furrows her brow in concentration as she slowly waves her hand over Michael. His light brown, spiked hair becomes dark brown, conservatively cut and combed, with a touch of grey at the temples; his jacket becomes a suit jacket, his sports shirt a dress shirt, and his jeans--slacks to match the jacket. Isabel steps back to admire her work. The others are trying to suppress their laughter.
MICHAEL
(suspicious)
What did you do?
ISABEL
(ignoring him; triumphant)
Add a pair of glasses and no one would recognize him.
Michael looks down and sees his new clothes.
MICHAEL
(yelling)
WHAT did YOU do!?
Cut to:
|
28 |
INT. WEST ROSWELL HIGH SCHOOL HALLWAY - NIGHT
|
Max, Liz, Michael, Maria, Isabel and Alex are standing near an entrance to the school that is not in the main flow of traffic, wearing their new "looks" and trying to remain inconspicuous. They are all wearing clothing suitable for middle-aged parents. Max is now blond with a beard, Liz's black hair with gray highlights is in a bun and she is wearing granny glasses, Maria's sable brown tresses are permed and she is wearing faux tortoise-shelled glasses, Isabel's dark brown hair is in a french twist and her burgundy colored glasses have beveled lenses, Alex now has ash blonde hair and a mustache and Michael is the same as in the Eraser Room, with the addition of glasses with black rims. It's obvious they have been discussing their mission.
MAX
All right, Liz and I will head for the science lab; Michael, you and Maria take Mr. Singer's geometry class; Isabel and Alex, you take Mr. Sommers's history class.
They split up, each set of pairs going down different hallways. The camera follows Michael and Maria. Michael stalks off ahead of Maria and she has to rush after him.
MARIA
(calling out)
Michael, slow down.
(as she catches up to him, talking as they walk briskly)
Max said we should stay in pairs.
MICHAEL
(grumbling)
It doesn't make sense to me. We'd cover more territory if we go separately.
MARIA
It makes perfect sense. As Max said, we'll be less conspicuous in pairs. When we run into them we can get closer to eavesdrop if we look like just another set of parents discussing their kids. If we are alone we run the risk of someone noticing that we are either eavesdropping or lurking.
MICHAEL
I know how to do surveillance without looking conspicuous.
Michael starts to pull ahead again.
MARIA
Michael!
Michael stops and turns to her.
MICHAEL
(condescendingly)
If you don't want us to be noticed, perhaps you should stop calling out my name.
MARIA
(glaring)
And perhaps you should--
Cut to:
|
29 |
INT. WEST ROSWELL HIGH SCHOOL - SCIENCE LAB - SAME
|
There are several parents spread out around the lab talking among themselves. Mr. Seligman is also there, talking to a couple of parents. The camera focuses on the Parkers, Amy and the Whitmans, who are engaged in conversation. Amy and the Whitmans are wearing skeptical looks.
CHUCK
(nervously)
Are you sure this Larry Trilling person isn't turning the shooting into something ... paranormal just to get some attention?
JEFF
That's what we thought, but then we realized that a lot of Liz's recent strange behavior--the lying, the secrets--it began right after the shooting. What about you? Did any of you notice that your kids were acting ... different ... after the shooting?
Cut to:
|
30 |
INT. WEST ROSWELL HIGH SCHOOL HALLWAY - SAME
|
Isabel and Alex are walking side by side, seeming slightly uncomfortable. As they come toward the end of a corridor, they spot Valenti and quickly shift to look at a bulletin board. They stare at it as though intent on the various schedules and announcements as Valenti walks past them.
ALEX
(with a sigh of relief)
That was close.
ISABEL
Yeah, too close.
Isabel starts nervously fingering her necklace; a gold, antique style, heart-shaped locket with a matching chain. Alex notices.
ALEX
You're wearing ...
ISABEL
Your birthday present. I tried to thank you last night but I couldn't find you after we opened the presents. It's really beautiful, Alex.
ALEX
(woodenly)
I'm glad you like it.
Alex starts walking down the hall again. Isabel catches up to him as she speaks.
ISABEL
Alex, is something wrong? I mean, I'm getting mixed signals from you.
ALEX
(surprised)
You're getting mixed signals from me?
ISABEL
(hurt and a little ticked off at the same time)
Well, yeah. Why would you audition for the band gig after asking me to the dance? I mean ... you obviously can't have both.
ALEX
(surprised that she cares)
The guys in my band wanted to do it and ... and I didn't think the odds were good that you would agree to go.
ISABEL
(stops in front of the classroom, indignant)
The odds!? Just what did you think the odds were?
ALEX
Certainly no better than 50/50 ... last I heard.
Alex enters the classroom, leaving Isabel speechless.
Cut to:
|
31 |
INT. WEST ROSWELL HIGH SCHOOL - SCIENCE LAB - CONTINUOUS
|
GLORIA
What I remember most about that time that was odd, was the estrangement between Alex, Maria and Liz. They had always been so close and then all of a sudden they were barely speaking.
AMY
I remember that.
NANCY
Me too. I remember I made a comment to Liz about it and she practically accused me of reading her diary.
AMY
Speaking of accusations, I was practically accused of having early Alzheimer's once.
(at their surprised looks)
It was back in November. Maria supposedly was with Liz studying all night but the next day there was an extra 400 miles on my car's odometer. Maria insisted I was remembering the mileage incorrectly and that she hadn't gone anywhere that night but to your place.
Cut to:
|
32 |
INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - SAME
|
Liz and Max are walking arm in arm towards the science lab. They are obviously enjoying playing "parents" together. They start to enter the lab and spot the Parkers, Amy and the Whitmans close to the entrance, deep in conversation. They back out and Max takes out his cell phone.
MAX
I'll page the others.
Cut to:
|
33 |
INT. WEST ROSWELL HIGH SCHOOL - SCIENCE LAB - CONTINUOUS
|
CHUCK
Then there was the time Alex called me at the last minute for that father's camping weekend a while back; something he's never wanted to do before.
JEFF
That trip was strange. Liz and Maria took off alone, in the middle of the night. I'm not sure I buy their getting lost looking for a place to pee excuse. I think there was something else behind it.
GLORIA
(smiling)
I think Isabel was behind Alex's reason for going.
JEFF
But that's just it. I think most of their strange behavior has to do with Max, Michael and Isabel. Come to think of it, Max and Isabel got lost during that trip too. I don't think it's a coincidence.
Cut to:
|
34 |
INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - CONTINUOUS
|
Max and Liz have overheard the parents' conversation and we see their concerned expressions.
JEFF (cont'd) (VO)
Then again, maybe I'm blowing this out of proportion.
AMY (VO)
It would explain a lot though. I mean if they were all trying to keep it secret that Max is some sort of healer. That's probably not the sort of thing he'd want getting around school--some kids can be so cruel when they discover something different about you.
NANCY (VO)
A healer?
Max and Liz's concerned looks turn to panic-stricken looks.
AMY (VO)
There are people, you know, that are thought to have the ability to heal through their touch, although I've never heard of anyone healing a gunshot wound.
GLORIA (VO)
Are we sure they never found the bullet?
Max's and Liz's eyes widen at the words "gunshot wound" and "bullet", respectively. When they see Valenti approaching the room, they turn their backs to him and pretend to be two parents discussing their kids; their body language at odds with their distress. Valenti enters the science lab without giving them a second glance. We see Michael and Maria approaching from the distance.
Cut to:
|
35 |
INT. WEST ROSWELL HIGH SCHOOL - SCIENCE LAB - CONTINUOUS
|
JEFF
(noticing Valenti's entrance)
Here's just the person who can tell us.
(waves to get Valenti's attention)
Jim, how fortunate to run into you.
(they shake hands)
We were just discussing the shooting at the Crashdown last September ... Is it true the bullet was never found?
VALENTI
(slightly surprised by the question)
Yes ... it is.
NANCY
Why do you suppose that is?
SELIGMAN
(interrupting)
Sheriff Valenti! I'm so glad you came by. I must speak with you about Kyle.
Seligman places his hand on Valenti's arm, gently directing him away from the Parkers, Whitmans and Amy. Valenti lets himself be steered away but turns to the others to mouth an apology.
Cut to:
|
36 |
INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - CONTINUOUS
|
Max and Liz have been joined by Maria and Michael.
MAX
This is serious.
LIZ
(earnestly)
I agree.
MICHAEL
What's serious?
Cut to:
|
37 |
INT. WEST ROSWELL HIGH SCHOOL - SCIENCE LAB - CONTINUOUS
|
CHUCK
(looking at his watch, anxiously)
Gloria and I still have to see Alex's computer teacher so we have to get going, but I think it would be a good idea if we continued--
Suddenly we hear a fire alarm sound.
Cut to commercial.
END OF ACT III
ACT IV
|
38 |
INT. SCOTTY'S BAR & GRILL - SAME
|
Deputy Green and Larry Trilling are sitting across from each other in one of the booths. The place is moderately busy and noisy.
LARRY
(gushing)
I can't tell you how honored I feel that you trusted me to help you with this. I mean, I realize it was based on information I had, but--
GREEN
Yeah, right. What did you find out?
LARRY
I checked the plant at Las Cruces like you suggested--Hank Whitmore never worked for them. I've been interviewing his friends and neighbors and no one has seen or heard from him since he supposedly left for Las Cruces.
GREEN
And I checked for credit card activity--nothing.
LARRY
It's as if he dropped off the face of the Earth.
(beat)
You really should talk to Michael Guerin. Hank's neighbor from the trailer park, Nellie Smith, told me that the night before Hank left, he and Guerin had a major blow out.
Green throws some bills on the table and gets up. Larry does the same.
GREEN
Thanks for your help.
LARRY
(smiling)
Any time, Deputy.
They head for the door. As they are walking out, a man (the same Hispanic man from Independence Day and Sexual Healing) looks around from the booth that was directly behind them and watches them exit.
Cut to:
|
39 |
INT. MICHAEL GUERIN'S APARTMENT - 15 MINUTES LATER
|
The door bursts open and Michael and Max enter, arguing. Isabel, Liz, Maria and Alex follow; Alex closes the door behind them.
MAX
What were you thinking when you pulled that fire alarm!?
MICHAEL
You should be thanking me for that!
MAX
Don't hold your breath.
MICHAEL
Your parents were heading for the lab! Do you really want your parents talking to the Parkers about your "healing" abilities!?
MAX
Of course not, but do you think that's the only time they'll have a chance to talk? Are you planning on pulling an alarm every time they meet?
MICHAEL
If I have to.
ALEX
(interrupting)
OK, OK, calm down. We're all a little on edge, but snapping at each other isn't going to help.
ISABEL
And what will help? God, could this get any worse!?
ALEX
Yes.
(at their surprised looks)
Michael could be saying "I told you so."
Everyone smiles at this, even Michael. The tension is relieved somewhat.
ISABEL
But what are we going to do? They're just one step away from figuring out the whole thing!
ALEX
Yeah. The bullet being "missing" really feeds their speculation.
(pause as they contemplate the implications of this)
LIZ
Who says it has to be missing?
MARIA
Um, Liz, Max dissolving the bullet sort of keeps it from being found.
LIZ
Who says it has to be the same bullet?
The others look at her, intrigued.
MAX
Exactly! All we have to do is plant a bullet where it can be found!
MARIA
But the Sheriff's Department searched for the bullet. How do we explain them not finding it before?
ALEX
It would have to be some place that they wouldn't think to look.
MAX
Right. Someplace obscure.
LIZ
We should probably concentrate on the kitchen; it could have ricocheted and landed someplace they never thought to look.
MICHAEL
Wouldn't an employee have found it if it landed in the kitchen? I mean, your father is so adamant about keeping his "A" rating, he makes sure everything is cleaned thoroughly.
MARIA
(rolling her eyes)
Look who's talking like he actually cleans things.
MAX
Then we need to think of someplace that wouldn't need to have been cleaned since last September.
Isabel shudders a little as if the thought of that gives her the willies.
ALEX
OK, so lets think about what's in the kitchen ... we have the sink, the range, the grill--
ISABEL
The sink drain! Don't things get lost in that ... U-shaped pipe--
ALEX
(stage whisper)
P-Trap.
ISABEL
Right ... the P-Trap. Don't things get lost in that all the time?
MARIA
Yeah, like rings and stuff. I'm always warning Jen not to leave her wedding ring by the sink during the after-hours clean-up--
LIZ
That's perfect! We plant the bullet in the sink drain, then make sure that Jen's ring finds its way down there.
ALEX
Wedding ring down the drain. That sounds important enough to get out the wrench.
MARIA
But how does the bullet get to the sink without putting a hole in the wall? Does it ... go through the pass-through window and ... hang a left?
LIZ
(deep in thought)
We need a diagram.
Dissolves show Michael unearthing a sketch pad and drawing a plan of the Crashdown with the others looking over his shoulder and making suggestions. We see a close-up of the completed sketch; different hands appear drawing lines and arrows over it. Each time, Michael uses his powers to erase them as they are rejected until:
LIZ (cont'd)
(musing)
OK, what if the bullet hit the ceiling fan?
MAX
The fan could have deflected the bullet through the pass-through window!
LIZ
(pleased that their minds are so in sync)
... into the sink and down the drain.
MARIA
I guess the educational system didn't fail you two after all.
MICHAEL
(his turn to roll his eyes)
Sounds a bit whacked to me, but I guess it's possible.
MAX
And that's all it has to be. Now we have to plan this out. First we need to get a bullet that's the right caliber--
MICHAEL
(interrupting)
That should be easy enough. I'm sure the sheriff has plenty at his house.
MAX
That's way too risky. I'm sure we can find what we need at one of the local shooting ranges. It will even be a fired bullet so we will only have to do minor manipulation to change the markings so it can't be identified.
MICHAEL
(grudgingly)
Fine.
Click here to see finished diagram
Cut to:
|
40 |
EXT. "ASTEROID FIELD" OUTDOOR SHOOTING RANGE - MIDNIGHT
|
"Origins [Jungle Morning]"
by Joe Thurber (streaming audio) play here:
MP3
Michael is standing outside the perimeter of the range, looking around, checking for security. When he's satisfied that there is no security guard nor watch dog around he proceeds towards the pistol shooting range. He picks up a stick from the ground, hesitantly reaches out to check the surrounding fence for an electric shock, then climbs the fence to get into the shooting range. The moon is not yet full so Michael cups his hands and uses his power to provide enough illumination to check the field for spent bullets. Dissolves show a passage of time as Michael searches the field looking for the right caliber, picking up and discarding various bullets. We sense he is being watched and at one point so does he. He stops and looks around, doesn't see anything, so he shakes it off and continues searching the ground. Finally he finds the one he's looking for, holds it in his fist briefly to distort it and alter the markings.
Cut to:
|
41 |
INT. CRASHDOWN - KITCHEN - 15 MINUTES LATER
|
Michael is standing by the sink. He removes the modified bullet from his
pocket, reaches for a paper towel from a roll on the counter and wipes off
any incriminating fingerprints. Holding the bullet by the towel he drops
it down the sink drain. We hear a clink as it hits the trap. He turns and
heads for the kitchen doorway, tossing the towel in the trash as he passes
it. The camera follows him to the back room, through the swinging door and
over to the counter in the main dining area. He climbs onto the counter,
checks the trajectory, and reaches up towards the fan. His hand glows red
and when he lowers it there is a ricochet mark on the fan.
Cut to:
|
42 |
INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - MORNING
|
Max is at his locker. Michael approaches looking self-satisfied.
MICHAEL
It's done.
MAX
What's done?
MICHAEL
The bullet. It's all taken care of.
MAX
(hesitant, not sure if he's glad or apprehensive about this news)
So soon? You didn't go to Valenti's did you?
MICHAEL
(slightly irritated by Max's lack of confidence)
Nooo, I didn't go to Valenti's.
(beat)
I went to the police station.
(at Max's look of alarm)
Kidding. I went to the shooting range like you suggested. Anyway, it's planted and everything, so we're all set.
MAX
(sigh of relief)
Good! I'll let Liz know so she and Maria can make sure Jen's ring goes down the drain tonight.
Cut to:
|
43 |
INT. CRASHDOWN - MAIN DINING AREA - 8:30 PM
|
The evening rush has ended and things are starting to quiet down. Max is in his usual booth in the seat facing the front door, doing his homework, occasionally sneaking glances at Liz and exchanging smiles with her as she helps customers. There's a lull and she slips into his booth across from him. Maria comes out from the back room wearing her jacket and approaches Liz. In the background we see that Ricky is at the pass-through window waiting for his next order and Jen is bringing the check to her customer.
MARIA
I just have to run out for a few minutes. I swear I'll be back to help you with
(nods slightly towards Jen)
the after hours clean-up.
LIZ
OK, no problem. I'm sure Jen and I can handle whoever comes in before then.
(giving Maria a knowing smile)
And good luck.
MARIA
Thanks, I'll need it.
Cut to:
|
44 |
EXT. MICHAEL'S APARTMENT BUILDING - STREET - 10 MINUTES LATER
|
Maria is parked in the Jetta. She appears to be rehearsing a speech and keeps repeating "Michael, we need to talk" in different ways, emphasizing different words. She sees Michael approach his apartment, takes a deep breath and gets out of the car. As Michael gets to his door, Deputy Green steps out of the shadows. Maria stops short.
GREEN
Michael Guerin?
MICHAEL
Yeah.
GREEN
A citizen has voiced concern about the whereabouts of Hank Whitmore. Would you mind accompanying me to the station to answer some questions?
Cut to:
|
45 |
INT. CRASHDOWN MAIN DINING AREA - 20 MINUTES LATER
|
Liz is locking the front door and Max is still working on his homework. Jen goes through the swinging door, on her way to the kitchen. Through the pass-through window we can see Ricky carrying plates towards the sink and then Jen following. Liz heads for the kitchen but her path is blocked by Nancy and Jeff coming in from the back room. Nancy signals to Liz to precede her and she and Liz approach Max's booth. Liz looks apprehensive as she peers over her shoulder to see what Jeff is up to. Jeff walks over to the pass-through window.
Cut to:
|
46 |
INT. CRASHDOWN - KITCHEN - CONTINUOUS
|
Ricky turns on the faucet and starts cleaning the sink, preparing to wash the pots. Jen reaches above him to get some cleaning supplies off the shelf above the sink. She then heads towards the exit.
JEFF
(at the pass-through window)
Ricky ... Jen, we'll finish the clean-up tonight, you two can go home early.
Surprised, Ricky looks over his shoulder at Jeff while continuing to wipe down the sink counter.
RICKY
Righteous!
JEN
(at the doorway with the cleaning supplies, stops and turns)
Really? That's great. Thanks, Jeff!
Ricky turns off the water and places the strainer in the sink. Jen heads back to the sink to replace the cleaning supplies. In the meantime, Ricky removes his apron, throws it on the counter next to the sink.
Cut to:
|
47 |
INT. CRASHDOWN - BOOTH - CONTINUOUS
|
Max's stricken look is unseen by Nancy but not Liz as she slides in next to him; she shares his panic. Nancy then slides into the booth across from Max, as Jeff approaches them.
NANCY
Would you mind staying a little bit longer, Max? Mr. Parker and I would like to talk to you and Liz.
Max and Liz stare at Nancy, then Jeff as he slides in next to Nancy; both look like deer caught in headlights.
Cut to:
|
48 |
INT. JETTA - MOMENTS LATER
|
Maria is sitting in the Jetta in the Sheriff's Dept. parking lot. She is just hanging up her cell phone when the back door to the car suddenly opens and Isabel and Alex slide in.
ISABEL
(panicky)
Where is he?
MARIA
In there with some deputy.
ISABEL
You're sure that this is about Hank?
MARIA
That's what the deputy said. He wants to talk to Michael about Hank Whitmore's disappearance.
ALEX
Then it's not Czechoslovakian.
ISABEL
Not yet. So is Max coming?
MARIA
No, I didn't reach him in time.
ALEX
(apprehensive)
What do you mean, "in time"?
MARIA
He and Liz had their cell phones off so they didn't get my voice mail message until just now and now they are being detained by Liz's parents.
ISABEL
(her turn to be apprehensive)
Detained?
MARIA
Yeah. Liz had to pretend to use the restroom to call and tell me that her father sent Ricky and Jen home before she had a chance to put the ring down the drain, so he and her mother could talk to Liz and Max alone.
ISABEL
Great! Just--
Isabel stops in mid-sentence, focused on a man who is entering the Sheriff's Dept.
ISABEL (cont'd)
I thought you said Hank was missing.
MARIA
The deputy said that.
ISABEL
(bewildered, pointing)
That's Hank.
Cut to:
|
49 |
INT. CRASHDOWN - BOOTH - SAME
|
JEFF
So, Max, am I wrong in assuming the information the sheriff wants from you is related to the shooting here in the Crashdown last September?
MAX
(feeling cornered)
Information? ... What information might that be?
Cut to:
|
50 |
INT. JETTA - ROSWELL SHERIFF'S DEPT. - PARKING LOT - CONTINUOUS
|
MARIA
(antsy with anxiety; talking to no one in particular)
What's taking so long!? Come on ... just let Michael go so I can go help Liz and Max.
Cut to:
|
51 |
INT. CRASHDOWN - BOOTH - SAME
|
JEFF
I was talking to your co-worker, Larry Trilling, the other day. He has an interesting theory ...
Cut to:
|
52 |
INT. JETTA - ROSWELL SHERIFF'S DEPT. - PARKING LOT - 10 MINUTES LATER
|
ALEX
(musing)
How weird is it that Hank shows up twice just when he's needed? Are you sure that was Hank?
At that moment, Hank exits the Sheriff's Dept. Isabel nods. They stare at the door to the Sheriff's Dept. expectantly but no one else emerges.
MARIA
(still anxious)
Where's Michael? Why didn't they let Michael go?
ISABEL
(also anxious but showing it with slight annoyance)
Maria, chill! I'll go in and make sure Michael is OK. You go back to the Crashdown and help Max and Liz.
Isabel opens her car door; Alex opens his.
ISABEL
Where are you going?
ALEX
I want to follow Hank. Something doesn't seem right about this to me. I'll meet you all back at the Crashdown.
Isabel and Alex get out of the car. Isabel heads for the Sheriff's Dept. and Alex follows Hank, who is walking down 5th St.
Cut to:
|
53 |
INT. CRASHDOWN - BACK ROOM - 10 MINUTES LATER
|
Maria comes through the back door and without taking her jacket off she heads straight for the swinging door. She hesitates there and peers out the window. Max and Liz have their backs to her so she can't see their faces but she can see the serious expressions of Jeff and Nancy. She opens the door a crack to hear what is being said. Jeff and Nancy do not notice.
MAX
(nervously)
I don't know what else to tell you, Mr. Parker. I didn't heal anyone. Liz was shaken up by the gun going off and I was just trying to calm her down.
Maria backs away, letting the door close slowly. She leans against the lockers, trying not to have a panic attack by doing her breathing exercises (from Blind Date) and giving herself a pep talk in whispered tones.
MARIA
OK, breathe, breathe, ... you can do this ... just think, think ...
Cut to:
|
54 |
INT. CRASHDOWN - BOOTH - CONTINUOUS
|
LIZ
(desperately)
What else can we say? Larry was wrong. Why do you want to believe him instead of us?
JEFF
It's just when you add it all together: your uncharacteristic behavior, the missing uniform, the missing bullet–
Maria suddenly appears at the pass-through window. The tension in Liz and Max's faces relaxes somewhat.
MARIA
(interrupting; talking a mile-a-minute)
Hey, sorry I'm late. Don't worry, I'll get right on the clean-up.
She starts to head for the sink but is forestalled by Jeff's voice.
JEFF
That can wait; I think you should join this conversation.
Liz and Max's faces fall. Maria hesitates, looking down at her hands as she nervously fingers her own ring.
JEFF (cont'd)
Maria?
Maria turns away from the window and reluctantly heads towards the back room. As she opens the swinging door the back door opens.
MARIA
(surprised)
Hey, Jen!
Max and Liz perk up. Jeff and Nancy look puzzled. Jen rushes past Maria on her way to the kitchen, giving Maria a quick "Hi" as she passes.
NANCY
(calling out)
Jen!?
Jen comes up to the pass-through window.
JEN
I'll just be a second. I left my wedding ring by the sink.
She disappears from view as she heads towards the sink. In the meantime, Maria has entered the dining area and reached the booth. Nancy indicates that she should pull a chair over to the booth, which she does.
MARIA
I really think I should--
JEN (VO)
(frantic)
Oh no! It's gone!
Cut to:
|
55 |
EXT. SCOTTY'S BAR AND GRILL - SAME
|
Hank is walking toward Scotty's; Alex is following surreptitiously. Hank enters. Alex looks around for a place to wait.
Cut to:
|
56 |
INT. CRASHDOWN - KITCHEN - SEVERAL MINUTES LATER
|
Jeff, Nancy, Liz, Max, Maria and Jen are in the kitchen. Things on counters are disarranged; clearly they've been searching for the ring. Jen looks distraught.
NANCY
I'm sorry, Jen it just doesn't seem to be here. Maybe you left it somewhere else.
Nancy and Jeff move to leave the kitchen. When the kids don't move, Jeff looks pointedly at them.
LIZ
(anxiously)
There must be somewhere else we can look.
JEFF
We looked everywhere, Liz.
JEN
What if it fell down the drain?
Max, Liz and Maria look astonished.
JEN (cont'd)
Maybe it fell down the drain into that ... trap thing ...
LIZ
(faintly)
The P-Trap.
Jeff gives Liz a surprised look and she shrugs.
JEFF
(to Jen)
But the strainer is in the sink so the ring couldn't have fallen down the drain.
MARIA
It could have happened before the strainer got put in.
JEN
(eagerly)
Do you have a wrench I could use? I mean, if you don't mind.
Jeff looks reluctant.
JEN
Oh please, Jeff. I know it's a lot to ask but I just have to find that ring.
(pause)
JEFF
That's OK, I'll do it.
Dissolves as Jeff turns off the water, puts a pail under the pipes, and disconnects the P-Trap, getting wet in the process, despite his better efforts. He stands up with the P-Trap in his hand and dumps its contents into a disposable plate that Liz provides. A gob of gunk and food particles drops onto the plate and everyone backs up from the sight and the stench.
MARIA
Oh gross!
JEN
(stepping forward)
Wait! I think that's my ring.
Jeff uses a fork to sift through the gunk and uncovers the ring. Jen smiles ecstatically then gingerly picks up the ring with just the tips of her fingers and thumb.
JEN
Thanks ever so much. I won't forget this. I'm gonna take this to the restroom to clean it.
Jen exits the kitchen. Max, Liz and Maria are using surreptitious signals to determine who should bring up the bullet. They look on in horror as Nancy takes the plate and starts walking towards the exit with it.
NANCY
I'm going to put this in the outside trash before it stinks up the kitchen. And I think we should clean out that--
Suddenly Maria screams, causing everyone to jump and Nancy to drop the
plate. The gunk on the plate splatters on the floor. Maria, Max and Liz
watch apprehensively as the bullet skids across the floor towards the
grill; it looks like it might go under it.
NANCY
(staring at Maria in amazement)
What was that about!?
MARIA
(her rapt attention drawn away from the bullet to Nancy)
Um, I'm sorry, I ... thought I saw a mouse.
JEFF
(aghast)
In my kitchen!?
MARIA
No, no, I was mistaken.
Nancy heads towards the sink
NANCY
Well, we need to clean up this mess--OW!
Nancy has stepped on something that hurt her foot and stops to examine it.
NANCY (cont'd)
(pointing to a small lump of metal on the floor)
What's that!?
JEFF
(walking over to her)
What's what?
Jeff stoops and picks up the object Nancy is pointing at, then holds it in the palm of his hand to examine it. The others gather around.
JEFF
I think it's a bullet.
LIZ
You mean ...?
JEFF
Yes, the bullet. The one they never found. It must have been in there all this time.
NANCY
But how did it end up in the drain?
JEFF
I haven't a clue.
He looks around then heads towards the pass-through window.
JEFF (cont'd)
(thinking as he speaks)
Well, the guy with the gun was in the dining area over there ... if it went through the wall we would have seen the hole so the bullet probably went through this pass-through window ... but it would need the proper angle to make it to the sink, which means it must have ricocheted off something ...
(mulling)
The ceiling fan! It must have hit the fan and deflected into the sink and down the drain.
(sees Nancy's skeptical look and shrugs)
It's a stretch but I don't see any other way to explain it. And now I guess we'll have to explain it to the Sheriff's Department.
NANCY
(feeling embarrassed)
But first we need to apologize to Max and Liz for allowing ourselves to get sucked into Larry Trilling's fantasy life and trying to take them with us.
(to Liz)
I can't believe we actually thought you might have been shot!
(to Max)
And that you healed her.
(to both)
I hope you two can forgive us.
LIZ
Of course, Mom. Dad.
MAX
(quietly)
Sure, no problem.
Cut to:
|
57 |
EXT. LIZ PARKER'S BALCONY - ONE HOUR LATER
|
Liz is sitting in her lounge chair, writing in her journal.
LIZ (VO)
March 17, 2000. These past three days have been an emotional rollercoaster. From the highest highs to the lowest lows. I should be elated right now at our success but instead I feel a profound sadness. Sadness that the trust I've built up with my parents for the past sixteen years is slowly being chipped away. But I have to accept that there are some decisions that can't be unmade, can't be taken back. Once you've started down the path, you're committed. You may not even know it until it's too late. Sometimes circumstances force you to choose between limited options.
Cut to:
|
58 |
EXT. EVANS HOUSE - SAME
|
Max is sitting in the Jeep, resting his hands on the steering wheel. He waves one hand over the hand with the ring, revealing the healing symbol. He looks at it, changes it back, then gets out of the car to head into the house.
LIZ (VO)
There's nothing you can do about it, except cope the best way you can. Others may judge you for this, but probably not as harshly as you judge yourself.
Cut to:
|
59 |
EXT. SCOTTY'S BAR AND GRILL - SAME
|
Alex is lurking in the shadows outside Scotty's, watching the front door. Suddenly the door opens and Hank walks out and up the street. Alex follows at a safe distance.
LIZ (VO)
But at the same time I know that protecting Max, Michael and Isabel is the right thing to do. How ironic that it sometimes takes doing the wrong thing to do the right thing.
Hank continues walking down the street with Alex following at a safe distance. Hank turns a corner down an alley. Before Alex can get there, a bright light shines out from the alley; then a man walks out, the same Hispanic man from Independence Day and Sexual Healing. He pops something into his mouth, pockets the small container, and continues down the street.
LIZ (VO)
In a perfect world I could just tell my parents the truth, but this isn't a perfect world and there is just so much they wouldn't understand.
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.
Fade Out.
END OF ACT IV
Roll Credits
Technical Advisors:
Stephen Carrabino
Tom Cavin
Liz
Tim Miller, author of Without a Trace and Out of
Nowhere
Michael Sartell: S&H Plumbing, Medford, MA
Larry Stark
Beta Testers:
LA
Mel
Pam
provence
Sara Robey
Music Supplied By:
Maria DeLuca: "Tell Me Why"
Etta James: "At Last"; At Last
Smash Mouth: "All Star"; Astro Lounge
Joe Thurber: "Origins [Jungle Morning]"; Mad Hatter
VOICEOVER
Previously on Roswell and Roswell: What Might Have Been ...
|
1 |
INT. CRASHDOWN - DINING AREA - DAY (from Roswell Episode 101: The Pilot)
|
LARRY
Uh, Sheriff, hi, uh, I'm, I'm sorry, I really need to talk to you. I think something happened here.
VALENTI
What do you think happened?
LARRY
The gunman was, was, was standing right over there, right? And the shot was fired into this direction. Now, Jen and I, we searched this entire place up and
down and ...
(nervous laugh)
I mean there's, where's the bullet?
OWEN
We haven't found a bullet hole yet, Sheriff.
Cut to:
|
2 |
INT. WEST ROSWELL HIGH SCHOOL ART ROOM - DAY (from Roswell Episode 101: The Pilot)
|
LIZ
(to Max)
Kyle saw the hand print on my stomach and Valenti found my waitress uniform with the bullet hole in it. He just asked me if you were in the Café during the
shooting. Max, he suspects you.
Cut to:
|
3 |
EXT. PEPPER'S CAFE - NIGHT (from Roswell Episode 113: The UFO Convention)
|
SHERIFF
I didn't know this was gonna happen. I didn't know he was as dangerous as he was.
MAX
What did you tell him? Why did he come after me? You're the sheriff. You're supposed to protect me. But all you've done is go after me! You believe all
these crazy things. You're just like Hubble. You want me? Well, here I am! Take
me.
MICHAEL
Max, come on, just relax.
MAX
No, no!
SHERIFF
Son...
MAX
Would you treat your son this way?
SHERIFF
Get outta here. The both of you. You were never here. Go on!
Cut to:
|
4 |
INT. SHERIFF'S DEPT. - DUSK (from RWMHB Episode 118: Don't Tell Mama)
|
The new deputy (Green) leaves the main lobby for the file room.
VALENTI
(looking in the direction of the file room, but to Owen)
How's our new deputy doing?
OWEN
(glances in the direction of the file room, then back at Valenti)
He asks too many questions.
Cut to:
|
5 |
INT. ROSWELL SHERIFF'S DEPT. - FILE ROOM - NIGHT (from RWMHB Episode 118: Don't Tell Mama)
|
The deputy casually closes the file he was perusing and places it back in the
middle of the file drawer.
VALENTI
You're working late.
NEW DEPUTY
Just trying to catch up on old cases. You never know when a clue from an old case can help you with a new one.
Cut to:
Valenti, alone in the file room, flipping through the files in the middle of the drawer.
He puts his hand on a file marked "Hubble, Everett". A look of concern crosses his
face. He pauses, then pulls the file out of the drawer, closes the drawer, and exits the
file room with the Hubble file tucked under his arm.
Cut to:
|
6 |
INT. JEN AND LARRY'S LIVING ROOM - NIGHT (from RWMHB Episode 119: The Witness)
|
Larry is seated at the desk, wearing headphones, listening to cassettes on his
tape recorder.
WOMAN'S VOICE #3 ON TAPE
... strange animal-like sounds, barely human, coming from the trailer of that drunk Hank who used to live next to me. Thank God, he left the next day!
Larry smiles.
Cut to:
|
7 |
INT. ROSWELL SHERIFF'S DEPT. - VALENTI'S OFFICE - DAY (from Roswell Episode 115: Independence Day)
|
Hank walks into the Sheriff's office.
HANK
(laughs)
I heard you put out an APB.
SHERIFF
You heard right.
HANK
(laughs)
Here I am.
SHERIFF
You wanna tell me about the gunshots?
HANK
Oh, uh, well...never clean a gun while you've been drinking. Anyway, got an offer from a plant over in Las Cruces. My lease is up next week, so ... I'm hitchin' up the trailer and I'm gone. Thing is, I'm goin' alone ... so
if I need to sign some papers about that boy, or anything ...
SHERIFF
Won't be necessary. And Hank ... make it soon.
HANK
Oh don't worry, Sheriff. I'm already gone.
Cut to:
|
8 |
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, gets back into the car, shapeshifts into a Hispanic male, and again pops something into his mouth from the container and pockets it.
Cut to:
|
9 |
INT. DELUCA LIVING ROOM - NIGHT (from RWMHB Episode 119: The Witness)
|
AMY
(to Maria and Michael)
Larry wouldn't tell them much of anything. He kept insisting he would only speak to Deputy Green, because he was the only one who would listen to
him.
Cut to:
AMY
(to Maria)
I don't know what this guy's problem is but I want you to stay away from him.
(to Michael)
And I think you should be careful too.
Cut to:
|
10 |
CROSSCUTTING BETWEEN INTERIOR SHOTS OF THE EVANS LIVING ROOM (where Max, Phillip and Diane are
all seated) AND THE PARKER LIVING ROOM (where Liz, Jeff and Nancy are all
seated) (from RWMHB Episode 119: The Witness)
|
PHILLIP
Your mother and I have been discussing your forced separation...
Cut to:
JEFF
... from Max. We also discussed it with the Evanses and we decided that maybe we were hasty in our initial decision.
Cut to:
PHILLIP
After all, we don't really know Liz ...
Cut to:
JEFF
If Max can prove to me--
(glancing at Nancy)
I mean us ... that he is not a bad influence on you ...
Cut to:
PHILLIP
If your mother and I could spend some time with her ...
Cut to:
JEFF
Then maybe we'll change our minds.
Cut to:
PHILLIP
... and you can see Liz again.
Cut to:
JEFF
... and you can see Max again.
Cut to:
|
11 |
EXT. EVANS HOUSE - NIGHT (from RWMHB Episode 119: The Witness)
|
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.
|
12 |
INT. ALEX WHITMAN'S BEDROOM - NIGHT (from RWMHB Episode 119: The Witness)
|
Alex is in his room. He's putting things away in his dresser and notices the dance
tickets he has stuck in the mirror. He flashes to Isabel laughing with Kyle:
Flash to:
|
13 |
INT. WEST ROSWELL HIGH SCHOOL HALLWAY - MORNING (from RWMHB Episode 119: The Witness)
|
Isabel and Kyle are talking. In the background Alex is in the doorway of a
classroom, unseen by Isabel.
KYLE
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.
Flash back to:
Alex, who puts the tickets in a drawer. He goes to his desk and opens one of his
books. He was using a dance flyer as a bookmark, and when he realizes what it is, he
starts to crumple it. He stops when he notices there is an announcement for band
auditions.
|
14 |
INT. DE LUCA LIVING ROOM - NIGHT (from RWMHB Episode 119: The Witness)
|
MICHAEL
(to Maria)
I've been thinking about what your mom said at dinner and I realized that, if we continue seeing each other, you are gonna get hurt. Just being who I
am can hurt you in so many ways, and I ...
(stoically)
I don't want to be responsible for you getting hurt. I couldn't live with that.
He looks away.
MICHAEL (cont'd)
That's why I don't think we should see each other anymore.