Liz comes out of a classroom and runs into Kyle and Vicky, who are holding hands. There is a slight awkwardness between Liz and Kyle.

Cut to:

Isabel is lying supine on her bed; her knees are bent, propping up the West Roswell High School yearbook she is holding. She touches a picture of Alex in the yearbook and closes her eyes, concentrating.

Cut to:

Dream Alex, dressed for school, is walking down the hallway among other dream students. He opens a classroom door, enters, and shuts the door. Isabel is in the same red silk pajamas she was wearing when she began the dreamwalk. She comes down the same hallway, following Dream Alex. None of the other dream students notice her. She opens the classroom door.

Cut to:

The classroom is empty except for Dream Alex, who is now dressed in a tux. He is seated at a table, which is situated behind the student desks and chairs, and is covered with a linen tablecloth, crystal glasses, and a candle. Spread around the room there are fake trees with little white lights and additional candles on stands, creating a ballroom atmosphere. He does not see Isabel enter and sit on the teacher's desk. She is still in her pajamas. Dream Alex stands up and walks to a table behind him that has a boombox on it. He reaches into his inside jacket pocket and removes a disk. Dream Monique Powell, lead singer of Save Ferris, suddenly appears and takes the disk from him.

The camera follows Dream Monique as she walks towards her band and we see Alex's dream version of Isabel. She is wearing a red cocktail style dress with a black border on the top, black spaghetti straps, gold and black thread print woven through it on the front and back, and a slit in the back. Her hair is down. She looks stunning.

Dream Alex turns when he hears her voice.

The dream band has begun to play "Let Me In". Dream Alex walks towards Dream Isabel and extends his hand palm up as if inviting her to dance.

The camera pulls back and we see that behind the table Dream Alex was sitting at is a dance floor. Dream Isabel accepts his extended hand. He bends down and kisses it, then twirls her around onto the dance floor. Isabel is watching all this (still sitting on the teacher's desk) with mixed emotions--astonishment, intrigue, and pleasure. Dream Alex and Dream Isabel continue to dance. Dream Alex is very sure of himself and expertly moves her around the dance floor, twirling and dipping her. Dream Isabel is enjoying herself immensely. As they continue to dance, they talk softly.

Dream Alex and Dream Isabel continue to gaze into each others eyes, then each leans in for a kiss. Isabel is watching this intently. Just before Dream Alex and Dream Isabel kiss, we cut to:

Isabel bolts upright in bed, shocked at what she has seen and felt.

Cut to:

Michael is sitting in Sheriff Valenti's office; Valenti is interrogating him about Hank.

Cut to:

Hank drives into a wooded area, stops the car, pops something into his mouth from a small container and pockets the container. He then gets out of the car, opens the back of the station wagon, drags out and buries the body of a man that looks just like him, then gets back into the car. A bright light eminates from the car as he shapeshifts into a Hispanic male, and again pops something into his mouth from the container and pockets it.

Cut to:

Isabel is lying on her bed; Max, standing by her door, has just asked her a question.

He stops at Isabel's "give it a rest" look.

Cut to Liz's dream:

Liz is walking down a corridor with an endless amount of doors. Doors which, when she opens them, lead to empty rooms with another door, which lead to another corridor with endless amounts of doors. The corridors have a kind of double reflection (mirror on mirror effect) which gives the impression of infinity. Liz keeps opening doors, looking for something, or someone, becoming more frantic by the minute. Then she calls out.

Max and Isabel enter her dream. They do not see her, but can hear her calling for him. He runs toward the sound of her voice and calls out; Isabel stays behind.

Cut to Liz. Hearing him, she runs toward his voice. She opens the next door and he is on the other side. Liz runs into his arms, resting her head on his shoulder.

She lifts her head from his shoulder and looks into his eyes.

He breaks their embrace to cup her face with his hands.

They kiss. A deep, passionate, loving, kiss. The corridors and doors disappear; Max and Liz are standing in a field of flowers. A few butterflies in the air land on them but they are oblivious--lost in their kiss. Isabel is caught unawares, and sees them in their loving embrace. She turns around to give them privacy.

She sits on the grass.

Max and Liz continue to kiss in the background.

Cut to:

Isabel is sitting alone at a table eating lunch. Michael comes by and sits with her.

There is a long pause while he gets up the courage to tell her, leading her to the wrong conclusion.

Cut to:

Max and Michael are alone in Michael's apartment having a discussion.

Max nods.

Michael stands up and demonstrates.

Max stands up. He looks around and spots a plant on the counter. He raises his arm, concentrates and makes it move a few inches to the left.

Michael steps forward and reaches out in the direction of the plant. Nothing happens. Michael looks at Max and shrugs.

Michael raises his hand, aims it at the plant, and focuses his full attention on it. They both jump when it suddenly explodes. They continue to stare at the broken shards of the pot and uprooted plant for a beat, in awe.

They both turn and look at each other, at a loss for words, then turn back to look at the broken shards.

A smile of satisfaction plays at his lips.

Cut to:

We see both Max and Liz go into their rooms. They each sit at their desks. Max takes the picture of Liz he had used as a marker for the end of his previous grounding and tapes it to the square for March 15 over the words "party" and "grounding ends". Liz draws a heart, with the word Max in the middle of it on the same date on her new calendar right above the words, "Max's birthday". She touches the words and her eyes glisten. They both go over to their beds. Max lies down on his back. He reaches into his pocket for his wallet and pulls out Liz's picture. Liz picks up the picture of Max in the heart-shaped frame from her night stand, then stretches out on the bed. Each places a hand on the picture of the other; they close their eyes and concentrate.

Cut to:

Hank is walking down the street with Alex following at a safe distance. Hank turns a corner down an alley. Before Alex can get there, a bright light shines out from the alley; then a man walks out, the same Hispanic man from Independence Day and Sexual Healing. He pops something into his mouth, pockets the small container, and continues down the street. Alex notices the man, but is curious about the light and turns down the alley. It's a dead end and no one is there. Alex looks back in the direction the Hispanic man went (which is now empty), then back to the alley. He starts looking around, behind trash bins, etc. to see if Hank is hiding, but finds nothing. Alex ends up standing in the middle of the alley looking baffled.

Cut to:

It's after-hours and the place is empty except for Liz, Max, and Maria in one booth, and Michael and Alex in another. Michael is working on a sketch pad and Alex is making comments, but we do not hear their conversation nor see what Michael is drawing. Liz, Max, and Maria are discussing Michael and Alex

Cut to:

Max, Liz and Maria going over to Michael and Alex's booth and peering over Alex's shoulder at the drawing pad. The camera focuses on the drawing--a very good likeness of the Hispanic man from Independence Day and Sexual Healing.

Cut to:

Michael is sitting opposite Deputy Green at the interrogation table. Valenti is standing near the door; he seems pissed. Deputy Blackwood escorts Hank into the room. Michael stiffens when he sees Hank. Hank glances at Michael but does not address him.

Michael, Max, and Isabel are standing in Michael's living room.

Cut to:

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.

Cut to:

Max, Michael, Isabel, Liz, Maria, and Alex are all sitting at desks, clustered close together, brainstorming on what to do.

Cut to:

Liz is holding the orb. Max reaches out to take the orb and when he touches it the beam turns on.

Max smiles, liking that thought. They continue to hold the orb together, watching the Whirlwind Galaxy symbol displayed in the sky.

Cut to:

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:

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.

Isabel nods, places her hand on the Desert Man picture, then hesitates.

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. She's concentrating, then she jumps with a start as she opens her eyes and comes out of the dreamwalk.

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

Cut to:

Michael, alone, is finishing cleaning the mess in the kitchen. Maria enters from the hallway.

Cut to:

Maria takes his hands in hers and looks into his eyes.

Alex is talking to Liz. Maria is with them trying to appear depressed, like Alex, but not quite pulling it off.

Isabel overhears this as she approaches their table.

Liz nods, Alex hasn't heard anything past "I wanted to go to the dance with you".

Maria glances quickly at Alex to see if he heard Liz, but he's oblivious to anyone but Isabel.

Liz and Maria take off.

Isabel beams.

Cut to:

Michael walks over to the painting on the cave wall that Nasedo left for them to examine the symbols. He starts to lean on the wall above the symbols with his right hand as he peruses them. He's surprised when a silver hand print starts to glow under his right hand and he quickly removes it. He checks his hand but nothing appears amiss so, curious, he hesitantly reaches out and places his hand in the same spot. Again it starts to glow and this time his hand starts to sink into the wall. Startled, he pulls his hand back again and examines it. Once again, nothing seems amiss, so he places it back on the wall, this time letting his hand sink in up to his wrist. The look on his face tells us he feels something and when he pulls his hand back he's holding a metal book. Michael stares down at the book. Engraved on the front cover is the symbol that he and Isabel burned in front of the library in "Blind Date" to contact Nasedo. Before he can open the book he is hit with several visions in a row. Most are of the same symbols he saw in the desert during his illness in "The Balance" and each one seems stronger than the last, obviously causing Michael pain. His left hand goes to his head as he is hit with one more vision, different from the others. It's of a broken fence with a sign lying next to it that reads "Pohlman Ranch". This vision is so strong that it knocks him to the ground, unconscious, still clutching the book.

Cut to:

Michael, recovered, is telling the others (Max, Isabel, Liz, Maria, and Alex) about his visions. Maria is fussing over him trying to put wet cloths on his forehead which he immediately removes. The metal book from the cave lies open on the bed beside him; we can see that it is filled with symbols similar to those on the cave walls.

Cut to:

Max reaches the rock wall, stands before it momentarily as the others catch up. Somehow he just knows to reach out and place his hand on the wall, as if he had been doing it all his life. It glows silver under his hand, then the stone appears to ripple and shimmer. They all look on, stunned and amazed as it transforms itself into a doorway-like opening. There is a hollowed-out area inside, large enough for two people and a child-sized pod. Light streams in from the opening Max just made and from a small one in the ceiling of the pod chamber, which also lets in air. Max steps in and we see the egg-shaped gossamer-like pod shell he emerged from in 1989. Max stares at it, mesmerized. He reaches out to touch it and gets a flash (two moons and green clouds). Isabel, standing at the opening notices an engraving on the wall opposite the pod.

Max sees the Whirlwind Galaxy symbol Isabel is pointing at.

Cut to:

Michael uses the breathing technique he learned from River Dog then closes his eyes and concentrates. He gets a flash, his eyes pop open, and he takes off running towards another section of the rock formation, dragging Maria behind him, who is still holding his hand. In the background we see Max and Liz have returned to his chamber and re-opened it. He enters and Liz stands by the opening. Isabel is in her chamber with Alex by the opening. Michael reaches his and, still holding Maria's hand he reaches out with his right hand, places it on the stone wall causing the glowing hand print, the rippling wall, and the doorway-like opening to appear. Releasing Maria's hand, he steps inside. Maria observes from the opening. Michael's chamber matches Max's and Isabel's. Michael reaches out to touch the Whirlwind Galaxy engraving on the wall and, like in the Mesaliko Reservation cave, his hand passes through up to his wrist. When he removes his hand he is clutching a pair of blue baby booties.

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