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ROSWELL: WHAT
MIGHT HAVE BEEN - "Who Am I?" - ACT II - 06/09/04
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ACT II
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| 7 |
INT. WEST ROSWELL HIGH SCHOOL - HALLWAY - DAY
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There are students milling about, transferring from one class to another. Maria and Kyle are talking by his locker.
KYLE
(resigned)
So I guess I'll be seeing you and your mom for dinner tomorrow night.
MARIA
(slumps in defeat)
What is wrong with our parents?
KYLE
(exasperated)
I don't know. Maybe it's a new fad.
MARIA
The first DeLuca-Valenti family get-together.
(beat)
There's got to be a way out.
KYLE
I've tried. No luck.
Liz joins them.
MARIA
I've explained to my mother that dating is a solo activity. You don't do it with other people.
LIZ
Unless it's a double date.
Maria and Kyle immediately shake their heads "no", very emphatically.
KYLE
(to Maria)
No offense.
MARIA
None taken.
The bell rings and they all head for their next class; Kyle goes in the opposite direction and Maria and Liz walk together.
LIZ
Wasn't that dinner supposed to take place a few nights ago?
MARIA
Ohhh yeah, and my mother was not happy when Valenti had to reschedule because of work. She kept grumbling something about the three-strikes law. I thought that would be my chance to convince her to cancel it, but ...
(sighs)
no luck.
LIZ
(sympathetically)
Sorry.
(beat)
So, have you seen Max?
MARIA
(teasing)
Liz, a little time apart can be good for a relationship. Start with five minutes and work your way up to say, an hour.
LIZ
Very funny. I just wanted to know if he told you yet that we need to meet at lunch to discuss the whole "Desert Man" situation.
MARIA
(with a touch of sarcasm)
You mean we are being included this time? Michael won't object?
LIZ
Yeah, that was kind of weird. Maybe I can get Max to tell me what that was about.
Cut to:
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| 8 |
INT. ALEX WHITMAN'S BEDROOM - DAY
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Alex's bedroom is filled with computer and electronic equipment, as well as bookshelves filled with books, manuals, and magazines on a variety of subjects. Alex is at his computer. There is a copy of the picture Michael drew of the Desert Man on his desk. On his monitor's screen are thumbnail pictures of men. Most are in military uniforms, but some are not. They all have dark hair, and dark eyes. The pictures have an old look to them, based on style of dress and hair, like they are from the 1940s. He appears to be comparing the sketch to the pictures on the screen.
MAX (VO)
We need to find out whatever we can about Hank and his whereabouts and also this Desert Man. Alex can use his computer expertise to start that search.
Cut to:
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| 9 |
EXT. DESERT HIGHWAY - CONTINUOUS
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Michael is riding a motorcycle down the highway. It's a bit of a junker, but runs.
MAX (VO) (cont'd)
Michael, you seem to have a good rapport with River Dog. See if you can find out if Nasedo ever mentioned shapeshifting to him.
Cut to:
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| 10 |
INT. ISABEL EVANS'S BEDROOM - CONTINUOUS
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Isabel and Maria are sitting cross-legged on her bed. The sketch Michael drew of the Desert Man is on the bed between them. Isabel's hand hovers over it then she moves her hand to her face and nervously brushes aside a lock of hair. Maria picks up the sketch. They are talking, but we do not hear their conversation.
MAX (VO) (cont'd)
Isabel, you try using the sketch to dreamwalk this guy to find out who he is. Maria, I'm counting on you to break her from the dreamwalk if anything goes wrong.
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| 11 |
FLASHBACK - INT. WEST ROSWELL HIGH SCHOOL - EMPTY CLASSROOM - NOON
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Max, Michael, Isabel, Liz, Maria, and Alex are all sitting at desks, clustered close together, brainstorming on what to do.
MARIA
Don't worry, Max, I won't let anything happen to her.
ISABEL
Why do I need a babysitter?
MARIA
Spotter.
ISABEL
Fine, spotter! What makes you think something might go wrong; nothing ever has before.
ALEX
We're dealing with an unknown quantity here.
LIZ
That's right. This guy could be an alien with powers you've never even heard of, let alone know how to defend against, and he may not want you walking around in his mind.
ISABEL
(resignedly)
Fine. What are you and Max going to be doing?
MAX
Liz and I can take the orb back out to the radio tower where we found it; try to see if we can send another signal. If this guy is Nasedo and he is in the area, maybe he'll realize we want to get in touch with him.
FLASHBACK TO PRESENT
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| 12 |
EXT. HIGHWAY 42 - OLD RADIO TOWER - DUSK
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Max and Liz have laid out a blanket which they are kneeling on. There is a lantern beside them and the orb between them on the blanket.
LIZ
What do you suppose this orb is really for?
MAX
I'm guessing it's some sort of communication device.
They stare at the orb; nothing happens.
MAX (cont'd)
Or at least I hope so.
Cut to:
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| 13 |
INT. RIVER DOG'S LIVING ROOM - CONTINUOUS
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River Dog's living room has the basic amenities: couch, arm chair, coffee table, TV and VCR on a stand, floor lamp, etc. and one item that gives the room a more personal, welcoming feel - a handmade rug. Michael is seated on the couch. River Dog is across from him in a well-used arm chair.
RIVER DOG
I'm not sure how much help I can be, Michael. I've told you most of what I know about Nasedo already.
MICHAEL
(holding sketch pad)
You've never told us what he looks like. I was hoping you could describe him to me so I can sketch him.
RIVER DOG
I'd be happy to. Let's see now ...
(mulls it over)
He was about your height, but with a smaller frame. He had brown hair, brown eyes ...
Michael writes down the statistics River Dog is giving him.
MICHAEL
(interrupting)
What about the shape of his face, eyes, mouth? Can you describe those?
RIVER DOG
Hmmm ... I'd say his face was sort of square, with a strong jaw ... his eyes were big ... he had an aquiline nose ... a prominent brow ... he was clean shaven with a cleft chin ...
Michael quickly sketches as River Dog speaks.
Cut to:
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| 14 |
INT. ISABEL EVANS'S BEDROOM - SAME
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They are still sitting as before. We join them in mid-conversation.
MARIA
So you're sure Michael is OK? He's not wiggin' out about seeing Hank again, let alone what might have happened to him?
ISABEL
He seems fine to me. If he wasn't I wouldn't let him babysit the Peterson kids.
MARIA
(eyes widen in shock)
Excuse me!? Did you say Michael was babysitting!?
ISABEL
Yeah, he's doing it as a favor to me.
MARIA
(cracks up laughing, then in between catching her breath)
I'm sorry ... the thought of Michael with little children ... but is that really fair to the kids?
ISABEL
I doubt they'll even be up.
(smiling as a thought occurs to her)
But if he does need help that would be a perfect way for you two to get back together.
MARIA
How?
ISABEL
Because he would have to call someone for help. All we have to do is make sure you're the only one available tomorrow night.
MARIA
I like the way you think.
(confused)
Wait a minute, why are you trying to help? I thought Michael and I annoyed you when we were together.
ISABEL
I once thought that there was nothing worse than being alone with you and Michael. Then the two of you broke up and I found out how wrong I was.
Maria nods knowingly, then a thought comes to her.
MARIA
Oh, shoot! Tomorrow is the infamous DeLuca-Valenti family get-together.
ISABEL
Do you have to spend the whole evening there or just dinner?
MARIA
Just dinner.
ISABEL
Eat fast!
Cut to:
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| 15 |
INT. RIVER DOG'S LIVING ROOM - CONTINUOUS
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Michael is showing River Dog his rough sketch.
RIVER DOG
It's not bad; needs a little refinement, but it's a general likeness. Do you recognize him?
MICHAEL
No, it's no one I've ever seen, but then he won't necessarily look the same now.
RIVER DOG
Yes, the ravages of time will probably have taken their toll.
MICHAEL
No, not just older; I mean totally different.
(beat)
Did he ... did he ever ... shapeshift in front of you?
RIVER DOG
Shapeshift?
MICHAEL
Change his form. Did he ever show you what he really looked like? His non-human self?
RIVER DOG
No. He never showed me his true self ... in more ways than one.
MICHAEL
Did he ever say anything about his people to make you think they could shapeshift?
RIVER DOG
(thinks for a moment)
Sorry, no.
(beat)
What makes you think he has a different form than the one I saw? Can you shapeshift?
MICHAEL
No ... Actually, I don't know for sure. We were hoping you would know.
River Dog nods in understanding.
Cut to:
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| 16 |
INT. ALEX WHITMAN'S BEDROOM - SAME
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Alex's computer monitor shows that he was looking at marriage licenses. The white pages are open on his desk. He is on the phone.
FEMALE VOICE ON PHONE
I haven't seen Hank since my sister's funeral nine years ago. Why all this sudden interest in him anyway? What's he done now?
ALEX
Nothing, I was just looking for him.
FEMALE VOICE ON PHONE
Obviously you people don't know him very well.
There's a click, signaling a hang-up.
Cut to:
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| 17 |
EXT. HIGHWAY 42 - OLD RADIO TOWER - CONTINUOUS
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Same positions as before. Night has fallen. The orb is still inactive.
MAX
(picks up the orb)
Maybe if I hold it.
Still nothing.
LIZ
Try concentrating on sending a signal.
Max closes his eyes and concentrates. Nothing happens. Suddenly the silence is disturbed by the sound of gravel falling near the collapsed tower. They both jump with a start, then look around trying to find the source of the sound. They both smile at their embarrassment and relief when they realize it's just a small lizard.
MAX
(laughs nervously)
We're not nervous ... much.
As they breathe a sigh of relief a rattlesnake springs out from its hiding place in the tower, grabs the lizard, then slithers back into its hiding place. The sudden appearance of the snake causes them both to gasp and jump again, only this time Max's reflexes cause the orb to fly out of his hands into the air. They both catch it at the same time. As they do, a beam shoots up to the sky displaying the Whirlwind Galaxy symbol. They are both startled by this and drop the orb. The signal goes out. Both look at the orb with amazement.
Cut to:
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| 18 |
INT. RIVER DOG'S LIVING ROOM - SAME
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Michael closes his sketch pad, as if preparing to leave, but he doesn't get up from the couch. He seems to have something else on his mind that he's not sure how to bring up.
MICHAEL
(hesitantly)
Do you ... do you think Nasedo is dangerous?
RIVER DOG
He was never threatening to me, but ...
MICHAEL
(nodding)
Did you ever ask him about Atherton's death?
RIVER DOG
I never had the chance. He took off as soon as I reached him, and I never saw him again. He didn't even come back for his healing stones.
MICHAEL
But if he had killed Atherton deliberately, and he knew you had witnessed it, wouldn't he be better off if you were dead?
RIVER DOG
True.
MICHAEL
So, since he didn't kill you too, maybe he ran off because he was scared, not because he was guilty. Maybe Atherton had a heart attack, and he was just trying to heal him.
RIVER DOG
Possibly.
MICHAEL
Or maybe I'm just making up excuses for him because I don't want to believe he's a killer.
RIVER DOG
Also possible.
MICHAEL
I mean, if Nasedo is a killer, what does that make me?
RIVER DOG
You're not Nasedo. You are your own person, regardless of where you come from. You can choose who you want to be.
MICHAEL
You really think that's true?
RIVER DOG
Yes, I do.
Cut to:
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| 19 |
INT. ALEX WHITMAN'S BEDROOM - CONTINUOUS
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He is pulling some equipment out of his closet, piling the assortment on his bed.
ALEX (VO)
Do you think maybe we should set up a decoy?
FLASHBACK - INT. WEST ROSWELL EMPTY CLASSROOM - NOON
Continuation of classroom meeting.
MAX
Decoy?
ALEX
Yeah, just in case you "signal" the wrong parties. I've got some lighting equipment that I can rig up to beam spotlights in the sky, so yours will not be the only one people might see.
ISABEL
Good idea. It will be less suspicious that way.
ALEX
(to Michael)
Maybe you can help me when you finish with River Dog.
FLASHBACK TO PRESENT
Alex looks through some stencils. Chooses one of a flying saucer.
Cut to:
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| 20 |
EXT. HIGHWAY 42 - OLD RADIO TOWER - SAME
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Same positions as before.
MAX
So ... what just happened there?
LIZ
(regaining her composure)
I'm not sure. Try tossing it in the air again and catching it.
Max does, but nothing happens. He puts the orb down.
MAX
You try.
Liz picks it up, tosses it, and catches it. Nothing.
MAX
Try concentrating.
She closes her eyes and concentrates. Still nothing. Max reaches out to take the orb and when he touches it the beam turns on.
LIZ
Apparently it needs both of us.
Max smiles, liking that thought. They continue to hold the orb together, watching the Whirlwind Galaxy symbol displayed in the sky.
Cut to:
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| 21 |
INT. DARK ENCLOSURE - CONTINUOUS
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We are in a dark enclosed space. The only light is provided by the Whirlwind Galaxy symbol being beamed from an orb, which makes it difficult to see where we are. It appears as if it might be a storage vault.
Cut to:
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| 22 |
INT. RIVER DOG'S LIVING ROOM - SAME
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MICHAEL
Thanks for letting me come by.
Michael heads for the door.
RIVER DOG
Michael, wait. I'd like you to meet me at the cave Friday night. Can you do that?
MICHAEL
The cave? Why the cave?
RIVER DOG
I'll explain when you get there. Can you come?
MICHAEL
Yeah, I guess so.
RIVER DOG
Good, 'till then.
Cut to:
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| 23 |
INT. ISABEL EVANS'S BEDROOM - SAME
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Same scene as before.
MARIA
You ready?
Isabel nods, places her hand on the Desert Man picture, then hesitates.
MARIA
What's wrong?
ISABEL
Nothing ... nothing. I guess what everyone said about him maybe being more powerful than me made me a little nervous, but I'm OK now.
Maria can see she's still a little nervous so she takes Isabel's free hand in hers. Isabel smiles, takes a deep breath, and closes her eyes.
Cut to:
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| 24 |
EXT. WHITMAN BACKYARD - CONTINUOUS
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Alex exits out the patio door into the backyard carrying some of the equipment he was taking out of closet earlier. He glances up and sees the Whirlwind Galaxy symbol in the sky. As he puts down the projector he's carrying we hear a motorcycle approach and stop nearby. Alex turns his head towards the gate and the sound. Michael comes through the gate and walks towards Alex.
ALEX
Was that a motorcycle I heard?
MICHAEL
Yeah. It's a piece of junk I found a few months ago and finally managed to get running.
Alex gestures with his hand as if to say "with your powers?"
MICHAEL
No, the ... normal way.
(glancing at all the equipment)
So what are we doing with all this?
ALEX
(pointing to the symbol)
We're gonna try to compete with that.
Cut to:
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| 25 |
INT. ISABEL EVANS'S BEDROOM - CONTINUOUS
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Isabel's eyes are closed and she is touching the drawing of the Desert Man. She jumps with a start as she opens her eyes and comes out of the dreamwalk.
MARIA
(concerned)
Are you OK? Did you see anything? How come you quit so quickly?
Isabel is momentarily overwhelmed by Maria's barrage of questions, then composes herself to answer each in succession.
ISABEL
Yes. No. Because I had no choice.
(struggles to explain the sensation she felt)
It ... it was like .. like I couldn't get a grip on his consciousness. It was so tantalizingly close, but ... nothing.
MARIA
Do you want to try again?
ISABEL
(nodding)
Yeah, but I need a minute to regroup.
Cut to:
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| 26 |
EXT. WHITMAN BACKYARD - CONTINUOUS
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Michael and Alex are busy with the equipment: plugging things in, positioning the projector, etc. They talk as they work.
MICHAEL
What do you normally use this lighting equipment for?
ALEX
My band. Sometimes we do light shows during our performances.
MICHAEL
Cool. This stuff seems kind of expensive though. How could you afford it? Does your band make that much money?
ALEX
No. I built it myself from parts I scavenged.
MICHAEL
It figures.
ALEX
Huh?
MICHAEL
(with a slight touch of envy)
Is there anything you're not good at? I mean you get all A's in school, you're a wizard with computers, you have your own band ...
ALEX
(surprised)
Whoa! You're not telling me that you are envious of me!? A guy with your powers? A guy who can quote James Joyce's Ulysses !?
MICHAEL
I'm not envious ... it's just-- Wait a minute. How did you know I read Ulysses?
ALEX
Maria.
MICHAEL
What else did she say about me?
ALEX
Sorry pal, I'm not going down that road. Not if I want to live.
Cut to:
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| 27 |
INT. ISABEL EVANS'S BEDROOM - CONTINUOUS
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Isabel is over by her dresser, rearranging the items on top--busy work to try to clear her mind. Maria is still seated on the bed, watching her. Isabel looks like she wants to ask Maria something, but is hesitant. Finally she speaks up.
ISABEL
Do you think this Desert Man did something to Hank?
MARIA
(a little uncomfortable at the thought)
You mean like, did he kill him?
ISABEL
(nodding)
Yeah. Do you think he did?
MARIA
(observing Isabel's nervousness)
Maybe ... Are you still concerned about what might happen to you if you get in? That he might be dangerous?
ISABEL
It's not that I'm afraid to go in, it's just, I don't know, I guess even though we've discussed the possibility that Nasedo might have killed in the past deep down I didn't want it to be true.
MARIA
And if you get in ...
ISABEL
I might discover otherwise.
(sighs)
I guess if we're going to dig up our past we have to accept whatever skeletons we might find.
(walking back to the bed and sitting)
So, let's get digging.
Cut to:
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| 28 |
EXT. WHITMAN BACKYARD - CONTINUOUS
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Alex and Michael are working on the finishing touches.
MICHAEL
Did you find out anything during your research on Hank and this Desert Man?
ALEX
Yeah, something that shocked the hell out of me--that Hank was married! It's so hard to picture someone saying "I do," to him.
MICHAEL
Susan? She wasn't much of a catch herself, although she was better than Hank. Not really maternal though ... anyway she died a year after I was left with them.
(beat)
I guess I should have appreciated her more though because Hank got a helluva lot worse once she was gone.
ALEX
How do you think you'll feel if it turns out this Desert Man killed Hank?
Michael looks back at Alex; we can see the distress in his eyes. He's finding it hard to formulate words to express himself. Finally he speaks.
MICHAEL
It's not that I have any sympathy for that bastard, but ...
ALEX
But you don't want anyone to get hurt, especially if it's because of ... who you are.
MICHAEL
Yeah.
Alex nods. They have finished setting up the equipment.
ALEX
(indicating the switch)
It's show time; do you want to do the honors?
Michael flips the switch. An impressive light show begins with interweaving "flying saucers".
MICHAEL
(impressed)
Nice.
Cut to:
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| 29 |
EXT. HIGHWAY 42 - OLD RADIO TOWER - CONTINUOUS
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Max and Liz are still alone, holding the orb together, watching the beam in the sky. Liz switches her gaze to Max who is looking intently at the beam. The hope that this will work is written all over his face.
LIZ
This is exciting.
Max turns away from the beam to look at Liz. He smiles.
MAX
(teasing)
What, the snake or the signal?
LIZ
Both, but I also meant what could come of this. I mean, if we contact this Desert Man and he is Nasedo you may finally learn where you're from and who you are; after all this time.
MAX
(wistfully)
Yeah ... if we contact him.
The camera pulls back and we see the signal in the sky as well as Max and Liz holding the orb. As the camera pulls back a little more we realize we are watching this scene through high powered binoculars. We do not see who is holding them.
Cut to commercial:
END OF ACT II
Original contents copyright (C) 2004 by
Roswell: What Might Have Been