ROSWELL: WHAT MIGHT HAVE BEEN - "Breathing Lessons" - ACT II - 01/26/05

ACT II


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

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

ISABEL
(to Liz)
So is your outfit all set?

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

MARIA (OS)
Yes, unlike me, Liz always plans ahead.

ISABEL
(curious)
How far ahead?

MARIA (OS)
Years.

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

ISABEL
(perplexed)
Liz has been looking forward to the Spring Blast-Off for years?

MARIA (OS)
No, going to a school dance with Max.

Liz looks embarrassed.

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

MARIA (OS)
You mean when Max--

ISABEL and LIZ
(interrupting, in unison)
Maria!

MARIA (OS)
helped her?

ISABEL
(to Liz)
So?

LIZ
(not sure how much she wants to reveal)
Well, I didn't really know him that well, except as my lab partner, and before that as just another student. He seemed very bright, but quiet ... reserved ...

Maria scoffs.

ISABEL
So you weren't really attracted to him before.

MARIA (OS)
Come on, Liz, she wants to know how you really felt about him.

  14 INTERCUT TO DRESSING ROOM

MARIA (cont'd)
She was always talking about him, wondering what he was really like.

  15 INTERCUT TO HALLWAY

LIZ
Maria!

MARIA (OS)
We're all friends now, we can tell her the truth.

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

MARIA (OS)
Ha ha, very funny.

ISABEL
(to Liz)
So you didn't talk about Max?

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

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

LIZ
(like Isabel should know better)
You know how private your brother was ... is.
(explaining anyway)
Whenever I approached him he seemed so ... guarded. So I stopped trying.

ISABEL
So you lost interest over the years?

LIZ
Not exactly. I mean, when we got older Max was always polite and kind with me ...
(with a heartfelt sigh)
and his eyes ... I would get lost in those eyes--
(in a more serious tone)
but he still seemed to have his guard up all the time. I just figured he wasn't interested in me; at least not that way.

MARIA (OS)
That's the paradox that is Liz.

  16 INTERCUT TO DRESSING ROOM

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

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

  17 INTERCUT TO HALLWAY

ISABEL
Well Max may not have shown outwardly how he felt, but internally ...
(beat)
He dreamt about you all the time, but you probably know that now.
(to Maria)
Michael dreams of you too.
(to both)
Do me a favor though, and don't tell them I know.

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

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

LIZ
(musing; in science mode)
Interesting.

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

LIZ
It's perfect!

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

ISABEL
(interrupting)
Maria, relax, breathe. I can take care of it.
(glances at the security camera outside the dressing area)
When we get home.

MARIA
Really? How? Oh, right! Thanks.
(beat, curious)
By the way, who else have you "visited" without them knowing about it?

Cut to:

  18 INT. ALEX WHITMAN'S BEDROOM - SAME

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

ALEX
Hello.

Cut to:

  19 INT. MAX EVANS'S BEDROOM - CONTINUOUS

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

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

Cut to:

  20 INT. ALEX WHITMAN'S BEDROOM - CONTINUOUS

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

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

Cut to:

  21 INT. MICHAEL GUERIN'S APARTMENT - NIGHT

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

MICHAEL
(calling out)
It's open!

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

ISABEL
(cheerfully)
Are you ready for your dance lesson?

MICHAEL
(grudgingly)
Ready as I'll ever be.

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

Michael looks at her aghast.

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

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

Cut to:

  22 INT. CRASHDOWN - COUNTER - SAME

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

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

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

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

KYLE
What are you two talking about?

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

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

LIZ
(correcting Maria)
To teach them a lesson.

MARIA
(to Kyle)
Liz is teaching them a lesson, I'm getting even.
(beat)
You're good with this sort of thing; would you like to help?

KYLE
Love to.

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

KYLE
For those two snobs? No. Besides, I owe you a favor ...
(mildly flirtatiously)
You scratched my back, now it's my turn to scratch yours.

MARIA
(pointedly)
Her back is taken.

Liz blushes. Kyle puts up his hands in surrender.

MARIA (cont'd)
(to Liz)
And what were you doing scratching his back?

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

LIZ
(bringing him down to earth)
I helped Kyle when was he failing chemistry.

MARIA
Ohhhh. Right.
(smiles brightly, to Kyle)
So you'll help? Great!

Cut to:

  23 INT. MICHAEL GUERIN'S APARTMENT - CONTINUOUS

The song ends and Isabel smiles bravely.

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

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

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

ISABEL
Good thing I brought some of my own.

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

ISABEL
OK, now try to follow some of my moves.

Michael tries but he's very stiff and awkward.

ISABEL (cont'd)
You need to relax. Let the music flow into you. Feel the rhythm.

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

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

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

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

Cut to:

  24 INT. CRASHDOWN - COUNTER - CONTINUOUS

Maria, Liz, and Kyle are still talking.

MARIA
Yep, I think that will work.

LIZ
Me too.

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

MARIA
Oh, I love this song!

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

KYLE
(to Liz)
I guess someone's excited about the dance.

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

KYLE
(wistfully)
I don't have to ask who you're going with.

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

LIZ
How about you?

KYLE
(unenthusiastically)
Vicky. It's not a love match, but she's e--
(searches for a word that won't get him into trouble)
Fun.

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

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

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

LIZ
Looks like Vicky has some competition.

MARIA
(looking pointedly at Liz)
Vicky has always had competition.

LIZ
(realizing Maria means her)
No way! Kyle is sooo over me by now.

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

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

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

MARIA (VO)
Not to him.

Cut to:

  25 INT. MICHAEL GUERIN'S APARTMENT - CONTINUOUS

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

ISABEL
OK, let's try a slow dance.

MICHAEL
(apprehensively)
A slow dance?

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

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

MICHAEL
(puzzled)
We have to take our shoes off?

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

She approaches him and puts her arms around his neck.

ISABEL
Put your hands on my back.

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

ISABEL (cont'd)
Michael, you have to pretend I'm Maria. Hold me like you would her.

He does, reluctantly.

ISABEL (cont'd)
OK, now just sway to the music.

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

ISABEL (cont'd)
Ow!

MICHAEL
(eager for an excuse)
Maybe we should stop.

ISABEL
(looks at her feet with concern, then bravely smiles)
No, no, I'll be fine. Let's keep going.

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

MICHAEL
What was that!?

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

MICHAEL
I agree.

ISABEL
I think you're ready.

MICHAEL
As I'll ever be.

She heads for the door.

ISABEL
(smiles weakly)
See ya.

She exits, closing the door behind her.

MICHAEL
(softly to himself)
That's what I'm afraid of.

Cut to commercial.

END OF ACT II

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Original contents copyright (C) 2004-2005 by Roswell: What Might Have Been