Chalkboard Narrative:
MARIA: Ok, what you need to know about Alex is that he
loved life. He loved it. He played the bass. He traveled. He had just
gotten back from his trip to Sweden only a couple of months ago, and he
had his whole life ahead of him, and then this one, stupid accident just
came and took it all away... forever. Liz--she's on this crusade to prove
that Alex's death wasn't accidental. She's convinced that what happened
to Alex was alien-related.
Flashback
LIZ: You don't want to think that Alex was killed
by an alien because that would mean you are responsible.
MAX: Let's go.
MARIA: The pod squad was not too happy about that one.
Flashback
KYLE: I guess it's us versus them.
LIZ: I know what I know, and I am gonna find out the
truth.
MARIA: And believe me, she will.
Scene opens to Maria in Alex's room with his dad, pictures are
spread out on his bed.
MARIA: It's a 2-page yearbook spread, a collage that
captures, you know, everything Alex was.
CHUCK: You guys are just great friends to Alex, you
know, still. Oh, and liz, tell your folks thanks for the food they sent
over.
LIZ: Yeah. Sure. What are these?
CHUCK: Condolence cards from floral arrangements.
You can take a look at them if you'd like.
LIZ: She reads one of the cards "The Olsons"?
CHUCK: Yeah. Alex's host family in Sweden. It's awful
to admit, but Gloria and I didn't even think about contacting them.
LIZ: Well, then, who did?
CHUCK: I'm assuming someone from the school. Alex's
entire trip was set up through the guidance office. Well, looks like
you guys are gonna be here for a while. I'll order a pizza.
MARIA: Oh, no. You really don't have to order--
CHUCK: It's nothing.
He leaves the room.
MARIA: Liz, you're being rude.
LIZ: Alex put every single thing about his entire
life in this computer.
There has got to be something in here to help us figure out what really
happened.
MARIA: Mr. Whitman let us go through stuff for the
yearbook spread. You can't look through his stuff for clues. It's immoral.
LIZ: What's immoral is that someone murdered Alex.
Look, we have got 2 clues here-- the numbers on the thai food receipt
and his girlfriend Leanna. Will you start looking through his desk drawers?
See if you can find anything.
MARIA: I don't think so. No.
LIZ: Why, Maria? Come on. We've only got a few hours
here.
MARIA: Does Max know that you're doing this?
LIZ: I'm just looking for the truth. I don't think
that Max is interested in that right now.
MARIA: God, I hate this. It's like this chasm has
formed between everybody since--
LIZ: --since I said aliens were responsible for Alex's
death.
MARIA: Yes. Look, I really don't think we should do
this without them knowing. It's just gonna make things worse. As it is,
Michael and I haven't even talked to each other in days.
LIZ: Why would he lock this document?
MARIA: What?
LIZ: Inside this folder, there's 5 subfolders, and
in the last subfolder, there's one locked file. None of the other files
are locked. It's like he was hiding it. Do you have any idea what his
security code is? Oh, Maria.
MARIA: Look. I really don't think that we should--
LIZ: --just tell me.
MARIA: Try "I, the stud." He's let me log on to his
e-mail account a few times.
LIZ: Oh, my God. Look at this. Look. On the computer
we see the words "Leanna is not Leanna" filling the screen.
Scene opens to Liz at school talking to another student.
LIZ: So, you're saying this definitely has nothing
to do with ap computer.
STUDENT: Nothing we've been working on lately. This
is binary code. The ones and zeros are usually used to tell a computer
how to operate.
LIZ: I need you to be more specific. What does this
particular sequence mean?
STUDENT: Without an application, it means nothing.
Tess and Max are walking by.
TESS: So, we still on for study?
MAX: Yeah. Yeah. Your house?
TESS: Yeah. I'll see you there.
LIZ: to the other student I'll talk to you
about this later. to Max What's up?
MAX: Liz, I just want to talk this through. I don't
want this to turn into a war between us, between everyone.
LIZ: Yeah. Neither do I.
MAX: Look. The other day at the wake, you were upset
about Alex. I understand how you might have said some of the things that
you said.
LIZ: Mm-hmm.
MAX: I'm willing to forget about it, wipe the slate
clean.
LIZ: Max, maybe it wasn't right for me to say what
I said just then, and maybe I could have said it a little bit calmer.
But I don't regret it. It's true.
MAX: Liz, the way you're going about doing this isn't
safe. Talking to people at school, asking questions. Whenever we decided
to do something, we always decided as a group.
LIZ: Do you believe me... about Alex?
MAX: No.
LIZ: Well, then we can't act as a group right now,
Max. She walks away.
Scene changes to the music room. Liz is talking to Marie. Marie
is setting up a camera to do a photo spread.
LIZ: Look, whatever happened to Alex happened while
he was in Sweden. You know that "Leanna is not Leanna" document? It was
created on January 16 while Alex was still there.
MARIA: Will you hold this like this? She hands
her the cameral light.
LIZ: Yes. "Leanna is not leanna." Well, you think
about it in alien terms. It could mean that she's a shapeshifter or a
skin or some other type of alien that we don't even know about yet.
MARIA: You know what? Think about it in human terms,
ok? What if he and leanna got in a fight or what if he caught leanna
flirting with another boy or something?
LIZ: I started playing around with the sequence of
ones and zeros that alex wrote on the delivery food receipt the night
he was murdered.
MARIA: Please. Do not use that word, liz. Please.
LIZ: There were 20 altogether. Then I counted the
number of letters in the phrase, "leanna is not leanna." 17. Not a match,
until I counted the number of spaces between the words. 17 letters plus
3 spaces equals 20. What if there's a connection?
Michael walks in.
MICHAEL: Hey, can I talk to Maria for a minute?
LIZ: Sure. He takes the camera light from her
MARIA: Give me that. Maria takes the camera light
and puts it down.
MICHAEL: So, what's Liz accusing us of now?
MARIA: You know what? If you're here to trash-talk,
I'm gonna have to take a rain check, 'cause that is the only way I'm
gonna get through a simple school day without losing it, all right?
MICHAEL: Well, you gotta tell her to get off this
Alex thing.
MARIA: What if she's right, though, you know? What
if--
MICHAEL: All the more reason for her not to get involved.
It's dangerous. It's not for Liz to look into, or you.
MARIA: God, I hate this. I just hate that there's
this division between all of us.
MICHAEL: Well, then, maybe Liz shouldn't have blamed
us for killing Alex.
MARIA: That is not what she said, Michael.
MICHAEL: What are you doin'?
MARIA: It's a yearbook collage me and Liz are doing
in memory of Alex.
Michael looks at all the intruments lined up along the wall.
MICHAEL: And this would be the--
MARIA: It's a picture of
all his instruments. It's lame, isn't it?
MICHAEL: Kind of. Need help?
MARIA: Why? Are you serious?
MICHAEL: Yeah.
MARIA: Well, I, um... I could use a ride to the photo
shop to get some color copies.
MICHAEL: Ok.
MARIA: And then i gotta track down this non-clump
spray adhesive, and my exacto knife is missing. And, yeah, I haven't
collected half of the stuff that we want to put in the collage and, on
top of everything, I have a major deadline to meet.
Scene changes to outside on the side of a road, Max, Isabel, Michael
and Tess are walking and talking.
MAX: She's obsessed. She keeps talking to people,
asking questions.
ISABEL: Has anybody thought about the possibility
that Liz is right? I'm the last person who wants to even remotely consider
it, but it's us. Stranger things have happened.
MAX: No. She isn't right.
ISABEL: Max, if we just thought about it--
MAX: Isabel, no. Liz is wrong, and even if there were
anything remotely alien about this, our cover is the best defense. It
always has been.
ISABEL: Not quite. I got a letter from San Francisco.
They wait-listed me.
MAX: Really?
ISABEL: Yeah. It's good news. You know, Mrs. Fletcher's
got everybody working in the guidance counselor's office to get me recommendations,
and my teachers are helping. I mean, this could really be a good chance
for me. Max just looks at her then looks down. Some people would
say, "congratulations."
MAX: We'll talk about this later.
ISABEL: Sure. Max and Tess walk away, leaving
Michael and Isabel standing there.
Scene changes to a bedroom. Max and Tess are sitting together on
the floor.
TESS: The kiss at the prom. The infamous kiss.
MAX: Right.
TESS: With what happened to Alex, I can understand
putting the subject on hold. I couldn't deal with it, either. But now,
I just-- I can't help wondering where we are.
MAX: Right. Right. You and me together, it scares
me. Right or wrong, I feel like if I follow that road, I can never go
back.
TESS: You're scared to go home.
MAX: What is home? Is home really up there? I just
feel like this whole idea about where we come from, and I want to believe
it. I want to understand it more and more, but it just feels like this
dream... this, this dream that I can never really quite touch or see
or...feel. And earth just seems so much more... real.
Scene changes to Liz at Sean's door
LIZ: Hi.
SEAN: Hey. She comes in and he gets back to plumbing
work at the sink. Sorry. I really have to finish this.
LIZ: It's ok. I just wanted to talk.
SEAN: I'm really sorry about Alex.
LIZ: I got your flowers. That was sweet. Thank you.
SEAN: The girl in the shop said they'd smell nice.
LIZ: Mm-hmm. They did.
SEAN: Cool.
LIZ: You know, I was thinking about our trip to the
bowling alley.
SEAN: Yeah?
LIZ: Mm-hmm. I was trying to remember how we got in.
SEAN: Oh.
LIZ: I mean, did you use, like, a swiss army knife
or something? You know, to open a lock, I thought that you stuck a knife
in and jiggled.
SEAN: Uh, I, uh, I used a pick that I made from a
bicycle spoke.
LIZ: Oh. But you could use a swiss army knife, right?
SEAN: What are you trying to do, Parker?
LIZ: Break into the school.
SEAN: Ok. You are aware that I have a record, right?
LIZ: Yes, and that's why I'm just asking for a little
how-to advice.
SEAN: Ok. You know, I'm not allowed within 1,000 feet
of that place.
LIZ: I know, and I would never put you in that position.
SEAN: I can't help you, parker. I'm sorry.
Scene immediately changes to inside the school, at night, Sean
is in dark clothing, so is Liz and he is picking the lock to the guidance
counselor's office.
SEAN: So, what, do you want to change one of your
grades or something?
LIZ: Yeah. Something like that.
He gets the door open and hands her some keys.
SEAN: One of these keys should take care of the filing
cabinets. I'm gonna do a sweep of the halls.
LIZ: Ok.
SEAN: Hurry. He leaves to check the halls.
Liz gets Alex's files from a filing cabinet and makes copies of
information about his trip to Sweden. Sean comes back just as she's
finishing up.
SEAN: Our time's up.
LIZ: Ok. I don't think I got it all.
SEAN: One rule about breaking and entering-- never
stay in the same place for more than 5 minutes.
LIZ: Well, does that mean we can go back?
SEAN: Come on.
Just then a security guard shines is flashlight in their faces.
SECURITY GUARD: Hold it right there, you two.
Scene changes to Max walking alone through a park at night. He
hears a whistle that startles him. It's Michael.
MAX: Don't do that.
MICHAEL: This whole thing with Isabel and college...
MAX: She can't go.
MICHAEL: Do you want me to talk to her about it? Things
seem a little tense between you two.
MAX: Ok.
MICHAEL: No problem. Max starts to walk away. Max.
MAX: What?
MICHAEL: Nothin'. Is everything all right?
MAX: Yeah.
MICHAEL: Good.
MAX: Good.
MICHAEL: 'Cause you sort of snapped at Isabel before.
You know, about the Liz thing. She was just saying it was a possibility.
MAX: I know. It's just--if I want to hear theories
about Alex's murder, I could talk to Liz.
MICHAEL: Yeah.
MAX: You think we have something to do with it?
MICHAEL: I have no idea. I just wouldn't want our
leader to be forming opinions based on what he wants to be true instead
of what really is true. Anyway...
MAX: Michael. The idea that Alex might have died just
because we're here... I can't bear it. All those times you would run
off chasing some clue to find out where we come from. Why we're here.
Where we belong. I always thought you were chasing something that wasn't
out there, because in my heart, I believed that we belonged here, you
know? That we were human. Lately, I've been thinking that you might have
been right all along.
MICHAEL: Lately, I've been thinking I might have been
wrong all along. They both walk away from each other.
Scene changes back to the school. Police are now there, questioning
Sean and Liz
POLICE OFFICER: to Liz Stay here. He
walks Sean a short distance away. What are you doing, Deluca?
SEAN: What do you think, man? She's hot. I was trying
to get in her pants.
POLICE OFFICER: So you broke into the school?
SEAN: Well, the chicks dig an adrenaline rush. Not
this one. She's a buzzkill, deputy.
POLICE OFFICER: You're a real zero, Deluca. You know
that? He walks over to Liz. Young lady, I hope you appreciate
the seriousness of your actions tonight.
LIZ: Oh, yes, sir.
POLICE OFFICER: I know you're a good kid, and your
parents are good folk, too, so I'm gonna let you off with a warning.
A strong warning. You got it?
LIZ: Oh, yes, sir. Thank you. Another police officer
takes Sean away.
Scene changes to Max and Valenti talking.
VALENTI: Anyway, Hanson told me about it. They were
at the school. I didn't get all the details, but it sounded a little
out of character for Liz.
MAX: Unless she was looking for something more specific.
VALENTI: Well, if that was the case, I figured you'd
know what this was about. Listen. I am more than happy, Max, to be left
in the dark. In fact, sometimes I think I would prefer that. But you
guys are usually a lot more careful about it than this.
MAX: I'll take care of it.
Scene changes to Liz's room. She's trying to call Alex's host family
in Sweden. A telephone machine message is delivered in swedish.
LIZ: Oh! Hello. Hi. Mr. And mrs. Olson, this is liz
parker calling again from roswell, new mexico. I'm a friend of alex whitman,
your exchange student. If you could please just call me back at any time,
it is extremely important. My cell phone number is 505-555-0125. Please
just call. You know, collect is fine. Please, just call as soon as possible.
Um...ok. Thank you.
Scene changes to school. Isabel is at a table outside looking at
brochures. Michael walks up and sits next to her.
MICHAEL: Hey.
ISABEL: Hey.
MICHAEL: So, this is the college.
ISABEL: Yeah. Yeah. As a freshman, my housing choices
are pretty limited, but this is the dorm I want. It's close to everything
good.
MICHAEL: Nice.
ISABEL: Yeah.
MICHAEL: But you can't go.
ISABEL: Excuse me?
MICHAEL: Isabel, you know the drill. We have to stay
in roswell. We stick together. It's a given.
ISABEL: I've made up my mind.
MICHAEL: What happens if we need you back here? What
are you gonna tell your roommates or your professors? "Oh, sorry, dr.
So-and-so, "but I gotta miss sociology "because some fresh gandarium
sprang up in the roswell sewers."
ISABEL: Michael--
MICHAEL: I'm not done. I mean, who's paying for all
this cross-country travel? Do you know what a last-minute plane ticket
costs nowadays?
ISABEL: So, I'll change dollar bills into hundreds.
MICHAEL: You can do that?
ISABEL: I just need a change.
MICHAEL: Look. When Alex died, none of us could have
known how much it would affect us. You running away isn't gonna help
you get over it any quicker.
ISABEL: I'm just trying to have a life.
MICHAEL: Yeah, and I'm suggesting you don't make a
huge decision right now. Not when your emotions are still running high.
ISABEL: Isn't that when you make all of your decisions?
MICHAEL: This is final.
ISABEL: It's not for you to say.
MICHAEL: No, but I'm speaking for Max.
ISABEL: You know what? You tell Max that if he has
something to say to me, he'd best find the time to say it himself. She
walks away.
Scene changes to a classroom. A yearbook meeting is being held.
Maria is explaining about the photo spread.
MARIA: It's gonna be great. I mean, there's still
a lot of stuff left to collect. Like, there's this poster of his first
gig in hondo, and then, we're trying to get ahold of this poem that he
wrote about when his dog got his leg amputated, 'cause, you know, you
can't have a collage about Alex without capturing his sense of humor,
so, anyway, it's a work-in-progress, clearly.
TEACHER: Well, maria. Now, you were supposed to be
delivering camera-ready art.
MARIA: Art. Yes. I know. It's a lot better than it
looks.
TEACHER: Ok, we're already holding the presses for
this.
MARIA: I understand.
TEACHER: And as much as I think that we're all devastated
about Alex, I don't think that it's in the wishes of the student body
to not get their yearbooks until after graduation.
MARIA: Look. If you could just give me 48 hours--
TEACHER: Ok. Maybe we should think about compromising
a little. I mean, do you really need to have every single piece of memorabilia
in the collage?
MARIA: Yes. Yes, I do, and I will--we will-- liz and
I will.
TEACHER: Ok, and where is Liz, anyway?
Scene changes to a hallway at school. Liz is on a cell phone talking
to the Swedish embassy.
LIZ: I've checked every tour book, and I can't find
anything that matches.
MR STOCKMAN: Miss Parker, I appreciate your interest
in my country, but it's impossible for me to spend the day tracking down
a building for you.
LIZ: You don't understand how important this is. Please.
It is 4 stories completely covered in--
MR STOCKMAN: --glass. You've described it. Look. Once
I get through this pile of paperwork on my desk, I'll try to--
LIZ: --what if I e-mailed it to you? You know, maybe
that would work. Please.
MR STOCKMAN: My address is on our website. I can't
promise anything.
LIZ: Oh, no. I will send it today. Thank you so much.
Thank you.
Meanwhile, Max has walked up behind her.
MAX: What the hell were you and Sean Deluca doing
here last night?
LIZ: Max, not now. I have to find a place that'll
scan this.
MAX: Why? Who were you just talking to?
LIZ: The Swedish embassy in Washington.
MAX: This has to stop. I will consider the possibility
that Alex was killed by an alien if you consider the possibility that
he killed himself.
LIZ: No, he didn't!
MAX: And what if he did? Then you are doing nothing
but raising people's suspicions about us. You have nothing to lose here,
and we have everything to lose.
LIZ: Let go of me. He looks down, realizes he's
gripping her arm, lets go and walks away.
Scene changes to Max sitting outside in the park, it's night time.
Tess walks up to him.
TESS: Hey. You ok? I want to show you something.
Scene changes to the observatory and Tess and Max are looking at
the stars through their high powered telescopes.
TESS: You see that star, the way it wobbles?
MAX: Is that our planet?
TESS: No, it's called Barnard's star. You can see
that star from our planet, too. Our world's out there, Max. It's not
close, and sometimes it seems like a dream to me, too, but it's real,
and I know you know that, too. That's reality, Max. This...this is the
dream.
MAX: If that's the truth, when do we wake up?
TESS: That's up to you.
Scene changes to a bedroom. Liz is at a computer, still looking
for clues. There's a knock at the door.
LIZ: Come in.
MARIA: Liz, you missed another yearbook meeting. The
least you could've done was call.
LIZ: Yes, I am sorry to have to put all that stuff
on you right now.
MARIA: Stuff?
LIZ: Yeah, but you know what? I'm closing in on this
Leanna girl. They went on a cross-country tour together. I've got everything
mapped out, but this is where things don't add up. Alex's itinerary says
they were headed for the Baltic Islands, and the date on the photo matches
the schedule, but there is no building that looks like this in the Baltic
Islands, or--or in any of the other cities that Alex visited for that
matter. I mean, maybe she took him to--
MARIA: Would you just listen to yourself?
LIZ: I don't even know where-- to, like, another country
or another planet. Maria--
MARIA: Stop it and listen to me, all right? I need
my best friend right now because our other best friend just died, and
I feel lost and scared and just completely wrecked, and I know that we're
supposed to go to school, and go to work, and finish this yearbook tribute,
but I just can't-- I don't have a handle on things. I feel like everything
is just slipping by me, and I don't even-- I don't even know if I'm alive
right now. So please, just stop focusing on this thing, that isn't even
there. And just be sad with the rest of us, ok? Please.
LIZ: So you don't believe me, either.
MARIA: I'm--no, I'm sorry, I guess I don't, Liz.
LIZ: Leave the sweden stuff. I need it.
MARIA: God, you know, you're doing this for Alex,
but you don't care whose life you screw up in the way.
LIZ: That's not true.
MARIA: Oh, it's not? How about Sean? Have you even
thought about him for a second since he ruined his probation for you?
God, I don't even know you anymore.
Scene changes to Sean at home, trying to unplug the sink with a
broom handle. There's a knock at the door.
SEAN: Hey.
LIZ: Hi.
SEAN: Maria's not here.
LIZ: I know. I wanted you. Look, thank you, um, for
taking the heat the other night with Hanson. It was very heroic of you.
And look, I'm sorry, you know. I know I should've called. Do you have
to go to jail?
SEAN: Aunt Amy talked to Valenti, Valenti talked to
Hanson. Basically, I'm gonna be doing community service until I'm, like,
senile, but they kept it off my record.
LIZ: Thank god.
SEAN: He tries the plugged disposal again. Piece
of crap. He then offers a drink to Liz.
LIZ: Oh, no, thank you. Yeah, I should go.
SEAN: Armored truck heist?
LIZ: No, not exactly.
SEAN: How about some company then?
LIZ: Oh, I don't think that I would be very good company
right now.
SEAN: I don't know, Parker. I'm pretty easy to entertain.
LIZ: Yeah, and I appreciate the offer, but, um, you
know, I'm just sort of in the middle of something really huge right now,
and I need to be really focused on it, so I should just do it alone.
SEAN: And you can't tell me what it is.
LIZ: Right.
SEAN: So, let me get this straight. I can't date you.
I can't hang out with you. Is there anything I can do with you?
LIZ: Uh-uh. Not yet. I'm sorry. She starts to
walk away but then turns back and kisses him, then leaves.
Scene changes to Michaels place. There's a knock on his door.
MICHAEL: The print shop. I totally forgot.
MARIA: You were supposed to pick me up at 4:00. I
call you and your line is disconnected.
MICHAEL: Yeah, I forgot to pay my phone bill.
MARIA: I was worried about you. I thought something
happened to you.
MICHAEL: No, I'm fine. Come on, we'll go right now.
MARIA: No, no. She walks in and sits on his couch.
MICHAEL: Maria, the print shop doesn't close until
7:00. We have time. Maria, I'm right here. I just forgot.
MARIA: I can't count on you.
MICHAEL: Yes, you can. I'll take care of this. I mean,
I'm right here for you.
MARIA: But you won't always be.
MICHAEL: What?
MARIA: One day you're gonna leave me. You're gonna
get on a spaceship and go away, and you being the perfect boyfriend right
now is really not helping me. I can't lose anyone else, Michael. My heart
can't handle it. She leaves.
Scene changes to Liz on the phone. She finally gets through to
the host family that Alex stayed with.
MAN: Hej.
LIZ: Hi, Mr. Olson. Hi, this is Liz Parker calling
from the United States. I'm calling about Alex Whitman.
MAN: This is not Mr. Olson.
LIZ: Oh, may I speak to him, please?
MAN: No one by that name lives here.
LIZ: Well, I'm holding something that says this is
their number. 46-17-84-72-59
MAN: That is the number you dialed, but my name is
Lind, and, please, I would appreciate you not calling again. Good-bye. He
hangs up. She looks at the condolence card sent by the Olsons and sees
the name of the florist that sent them.
Scene changes to Liz at the florist shop.
LIZ: Their address should be right there on the sales
slip.
FLORIST: If it's an international order, all we take's
a credit card number.
LIZ: Ok, well, can i have that then?
FLORIST: No.
LIZ: No, no, I'm not some psycho stalker.
I am just looking to confirm a phone number or an address, you know,
anything.
FLORIST: Why don't you try directory assistance?
LIZ: Because there's over 40,000 Olsons in Sweden.
FLORIST: Well, I sorry, but--
LIZ: No, you're not! I'm in an impossible situation.
I need to locate someone in Sweden. I'm here in Roswell. You have the
information. Why can't you just give it to me?
FLORIST: Because I'm trying to run a business, not
a detective agency.
Scene changes to a bank. Liz is taking money out of the bank.
TELLER: counting out money 51, 52, 53. That's
$2,053.78. Let me guess. First car?
LIZ: A trip to Europe.
Scene changes to school. Isabel is sitting at a table. Max walks
up to her.
MAX: Great news.
ISABEL: Mine's even better. Mrs. Fleischauer called
and talked to someone up in San Francisco. They can't say officially,
but I'm high on their list.
MAX: I figured out a way we can make this work. He
pulls out a Santa Fe book and hand it to her.
ISABEL: Santa Fe State?
MAX: I talked to one of their admissions counselors.
They love Santa Fe. They wouldn't shut up about the whole night life
there. Best of all, the university has rolling admissions. So you can
start as early as next winter.
ISABEL: But I didn't apply to Santa Fe State.
MAX: But that's what the application's for, Iz. It's
perfect. You'll only be a few hours away, and I think we can talk mom
and dad into getting you a car or something so you can be mobile.
ISABEL: I don't want to go to Santa Fe State, Max. She
hands the book back to him.
MAX: Isabel, you've been indulged in this for too
long.
ISABEL: Indulged? In planning my future? "Isabel Evans
has really enjoyed growing up in Roswell, and as much as she loves her
hometown and shows that love through hours of community service, I believe
Roswell is just too small to contain the potential of a woman like Isabel
Evans." This--this is from Mrs. Seymour at the homeless shelter. That's
what she think about me, and I have dozens, dozens of other recommendations
just like it. Do you know why? Because as far as the outside world is
concerned, Max, I'm a bright and talented upstanding member of the community
of planet earth. I've played the role to perfection. Now, it is my turn.
MAX: Don't make me the bad guy in all this.
ISABEL: You are the bad guy in all of this. How could
you send Michael to come and talk to me? It's like the alien mafia.
MAX: You can't go.
ISABEL: I have news for you, little brother. I'm going.
I'm going to college in San Francisco. Every teacher in West Roswell
High knows it. Mom and dad are thrilled about it, so either jump on the
band wagon or get out of my way. Get out. She walks away, he follows.
MAX: Isabel... Isabel, if I have to, I will do everything
in my power to keep you here. I will tell our parents you have a drug
problem. I will notify your teachers that you have cheated on every test
for the last 3 years. If you ever leave Roswell without my consent, I
will physically drag you back. For the last time, the answer is no. Period.
ISABEL: You're killing me.
MAX: You let it get this far.
ISABEL: Fine. This Isabel Evans is dead. You want
to be the leader? See how it works without any followers. She walks
away.
STUDENT: Ooh, Isabel Evans, you are so hot when you're
pissed. Isabel throws him down the hall and against a locker with
a flick of her hand and continues to walk away.
Scene changes to Amy, now trying to unplug the disposal at home.
AMY: Piece of crap.
MICHAEL: Need some help? I'm pretty good with this
kind of thing.
AMY: Michael, you're in a house full of very self-sufficient
women here.
MICHAEL: Why don't you just get a new one?
AMY: Me and this garbage disposal have had a pretty
good relationship.
MICHAEL: Yeah, but what if it broke down for good?
What if, like, in his own way, he wanted out permanently?
AMY: Do you think he's thinking of leaving?
MICHAEL: Well, maybe he realizes he can't be around
forever. And to just stay and be here, and crush garbage until he leaves
will give people a false sense of security.
AMY: Look, Michael, we're both getting what we need
out of this situation. And, sure, the disposal won't always be around,
but what if. Maybe tomorrow isn't something to really worry about.
MICHAEL: Maybe.
AMY: Give me that hammer.
He hands her a hammer, she starts pounding on the pipes under the
sink and Michael passes his hand over the clogged disposal, fixing
it.
AMY: Oh, my God! Oh, my God! Did you see that? I fixed
it.
MICHAEL: Nice one, Ms. Deluca.
AMY: Yeah!
Scene changes to a road outside Roswell. Liz is sitting on a fence,
with packed bags at her feet. Max drives up.
MAX: Liz, where are you going?
LIZ: Sweden.
MAX: Are you kidding me? Get in the car.
LIZ: No.
MAX: What did you tell your parents?
LIZ: I'm gonna call them from the airport and tell
them my girlfriend in Florida had a crisis and she needed me.
MAX: They'll call your aunt. Your aunt will say you're
not there.
LIZ: Well, then, I'll think of something else.
The cab driver pulls up.
CAB DRIVER: He looks at Max. You the airport?
LIZ: No. Actually, I am. You're late.
MAX: Liz, don't get in that cab.
LIZ: to the cab driver Load it up.
MAX: He takes one of her bags from her and puts
it in his jeep. Liz, get in my car.
LIZ: She takes it backWhat are you gonna
do? You're gonna throw me in it?
MAX: You have to listen to me.
LIZ: Don't even pull that king card on me, Max. I'm
not Isabel. You can't boss me around.
MAX: If this is about being pissed at me, fine. Punish
me all you want. But what about everyone else? What you're doing puts
them at risk.
LIZ: What I'm doing may save their lives.
MAX: You have a responsibility to Michael, Isabel,
and Tess not to get in that cab.
LIZ: Uh-huh, and I have a responsibility to alex to
find out what really happened.
MAX: Liz, if you go, our friendship is over.
LIZ: I guess that's the price I have to pay. Somebody
killed Alex and covered up his death. Why don't you see that, Max? Wake
up. She gets in the cab and it pulls away, leaving him standing there.
Scene changes to Maria's house. She walks in on Michael at the
table.
MARIA: What's this?
MICHAEL: Sit down. We've been through some rough stuff
lately. The thing is, you're right. I can't really imagine it happening,
but I am gonna leave someday. It could be a year, or 2, or 50. But I'm
gonna leave. It sucks. It's the choice we made to be together. But there
is one thing that I can promise you, and that is that I can give you
now.
Maria is crying and kisses his hand. Then Michael starts helping
her with the photo spread, the pieces of which are all over the kitchen
table.
MICHAEL: Now, I was thinking, um, this could go with
that.
Scene changes to the observatory. Max is there looking at the stars
when Tess walks up.
TESS: I thought I'd find you here.
MAX: My whole life I've wanted to be this person,
this normal person. Human. My whole life I've been thinking that this
alien side of me was this bad thing. This thing that made me a freak.
This monster. I realize that I haven't just been hiding from the government
and the law all this time. I've been hiding from myself. I don't know
what's going on anymore. I thought I knew but I don't. I've lost everyone.
TESS: I'll be here for eternity.
They kiss.
MAX: I'm ready to wake up now.
They kiss again. The scene is then mixed with another scene of
Liz running to make her plane on time and Max and Tess making love
in the observatory. Liz is about to get on the plane when she receives
a phone call from the Swedish Embassy.
MR STOCKMAN: Ms. Parker? Mr. Stockman from the embassy.
We found your building. There's just one curiosity-- that structure was
torn down in 1994. 3 people in my office have confirmed it. That building
is gone.
LIZ: to herself He never went to Sweden.
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