Cut Scenes - Season 1

Cut scenes from episodes in season 1

Some are just the scene that was cut, others are the entire script that has extra scenes in it.


Jump to an episode

Season 1

Pilot
Monsters
Leaving Normal
285 South 		Blood Brother
Heat Wave
Into the Woods
The Convention 		Independence Day
Sexual Healing
Crazy
 Four Square
Max to the Max
Destiny


To Season 2









Pilot Cut Scenes

After the shooting, Liz and Maria go into the bathroom at the Crashdown. Liz is washing up.

MARIA: Okay, okay, I'm like freaking out right here. Okay. I'm freaking! Liz! What just happened?

LIZ: Nothing.

MARIA: Okay, I heard a shot, and then you were holding on to your stomach, and then wha-what wh-what did Max do? What was that about?

LIZ: I have to go.

MARIA: Liz!





There is also another scene where Valenti takes the Roswell High School year book to Larry and Jennifer, and they pick out Max as the one who went up to Liz in the Crashdown. Still looking for that one in my files!









Monsters Cut Scenes

This is an entire uncut version of Monsters, where you can see lots of differences.
The first name of the episode was 'Best Laid Plans'

TEASER

EXT. ROSWELL GAS WORLD - DAY

A run-down hold over from the '60s. The old '76 ball has
been transformed into a globe. The pumps are shaped like
rockets. The ATTENDANT walks over to MARIA's Jetta that has
just pulled in.

ATTENDANT
(unenthusiastically)
Welcome to Gas World, may I re-fuel you
at no extra charge?

MARIA
(hands him a ten)
The cheap kind.

Maria applies her make-up in the rearview mirros as a tow
truck pulls into the station with a Jeep on the back. She
looks up to see Isabel step out of the truck. Jumpy, she
makes a streak on her face with her lipstick. She wipes it
off as she overhears Isabel.

MECHANIC
That'll be twenty dollars for the tow.

ISABEL
I was only two blocks away.

MECHANIC
Cash.

Angry, Isabel points two fingers at his eyes in a very Vulcan
way. He begins to shake, eyes bulging. Smoke comes out of
his ears and then POOF.

He's incinerated.

Terrified, Maria closes her eyes tight. When she opens them,
she looks back over and sees Isabel, perfectly normal,
reluctantly paying the Mechanic.

She turns to go and sees Maria in her car. Their eyes lock,
then Isabel begins to walk down the street. The Attendant
returns.

ATTENDANT
Would you like me to check your fluids?

MARIA
Would you like me to check yours?

Maria pulls out of the station. She passes Isabel on the
sidewalk, tries hard to ignore her. She glances out her side
mirror at Isabel who now walks down the street in a skin tight,
green alien suit complete with green skin ans hair, sexy in a
hideous way. People scream and flee as she passess.

She points at one with her Vulcan-like fingers until they
start to shake and smoke, just like the Mechanic.

RACK BACK to Maria, closing her eyes tight, shaking the images
away. Sure enough, when she opens them again, Isabel is just
walking down the street, perfectly normal. Suddenly, Maria
has to slam on the brakes to prevent herself from going through
a red light. Isabel stands at the crosswalk, waiting for the
same light, noticing how nervouse she's making Maris.

ISABEL
Nice handling.

MARIA
(embarrased)
Need a rid?

Isabel stares at her, warily. SMASH CUT TO...

INT. MARIA'S JETTA - DAY - ISABEL

...now riding silent shotgun. Maria concentrates on driving.

ISABEL
What year is this thing?

MARIA
'89. Never been towed.

Beat. Isabel leans over toward Maria, scaring her.

MARIA (CONT'D)
It was just a joke --

Maria realizes she was just looking at the glow in the dark
alien key chain dangling from the ignition. She covers.

MARIA
A joke key chain. My mother makes them.
(beat)
I'll tell her to stop.

ISABEL
Go.

MARIA
(rattled)
What?

ISABEL
Green means go. Even where I come from.

Maria accelerates erratically. Isabel feels a bit guilty.

ISABEL
My mother does stupid things, too.

MARIA
She does?

ISABEL
Don't all mothers?

MARIA
I guess.

ISABEL
Right.

MARIA
(agreeing)
Right.

ISABEL
No, right.

Maria pulls a last second hairpin turn. Isabel just rolls
her eyes.

MARIA
(nervously)
Does she know?

ISABEL
That she does stupid things?

MARIA
No, that you and Max are... you know,
like different?

It's not working. No way to have a normal conversation.

ISABEL
You mean horrible disgusting creatures
from outer space who sneak into your rooms
at night and perform excruciating
experiments?

Maria, scared out of her wits nowl, hits the gas instead of
the brake and goes smashing into the car in front of her.

MARIA
Oh my God... Oh my God...

Isabel sees the person get out of the car they hit.

ISABEL
Oh my God...

It's SHERIFF VALENTI who calmly assesses the minor damage.
Maria breathes deeply.

ISABEL (CONT'D)
I'll do the talking.

MARIA
Don't worry, I can handle this.

Maria gets out of the car before Isabel can stop her. She
walks up to Valenti.

MARIA
Sheriff, I can expla--

VALENTI
Miss DeLuca, isn't it?
(she's thrown)
I never forget a face.
(looks at Isabel)
I didn't know you and Miss Evans were
friends.

MARIA
(hyperventilating)
We're not! I mean, I'm just giving her a
ride. I mean, I don't know anything about
her at all.

Valenti just looks at her after this unexpected outburst.

VALENTI
You look a bit pale, Miss DeLuca. Isa
anything wrong?

MARIA
Wrong? No. What could be --

She looks at Isabel in the car who now has slimy, green skin.
Isabel just smiles and raises her fingers up like before,
only this time she points them at Maria. Maria's eyes cross
and she faints dead away, right into Valenti's arms. Isabel
sits in the car, perfectly normal, observing it all.

ISABEL
(why me?)
Oh my God...

FADE OUT.

END OF TEASER

ACT ONE

FADE IN:

CLOSE ON TOPOLSKY'S FACE

...as if suspended in black limbo with a bright light shining
down on her.

TOPOLSKY
(purposefully)
What ---will the future bring?

We PAN around her as she continues.

TOPOLSKY (CONT'D)
In ancient times, man looked to the heavens
to answer this question. Today, our methos
are little more scientific. Although no
one can predict the next big invention or
even the stock market, what we can do is
get more specific. More personal. What
will the future bring for you?

By now we discover she is addressing the student body.

INT. WEST ROSWELL HIGH - GYMNASIUM - DAY

...which doubles as an auditorium for assemblies like these.
Topolsky stands in front of a "FUTURE WEEK" banner.

TOPOLSKY
As the millenium nears, all eyes are on
you. Where will you be in a few years?

She continues on in the background as we discover LIZ and
Maria sitting together, listening.

MARIA
(whispering to Liz)
I'll make it easier for her.
(pointing to various
students)
Tastee Freeze... Denny's... Gas World....
prison.

LIZ'S VOICE
Listening to Topolsky, I suddenly realized
it wasn't my future I was worried about
at all. My plans were already made. And
from an early age, I might add. Everything
was going to go according to schedule, my
future was secure...

She sees MAX sitting next to Isabel across the gym. He looks
up at here, as if he could feel her eyes on him.

LIZ
...if I could just get through my present.

They both look away quickly. Topolsky finishes up.

TOPOLSKY
...and through these profiles, researches
can actually target career fields that
will suit your individual personalities
to a tee. So, over the next few days,
you'll all be coming into my office for
some interviews --
(groans from the students)
Just a series of questions that will
indicate in what area your strengths lie.

MARIA
Is total global annihilation an area?

Maria glances over at Max and Isabel. This time they are
both green and all the kids around them are writhing in pain.
Maria closes her eyes tightly again and shakes it off.

CLOSE ON A FLYER

...advertising the Film Club's "Alien Creature Double Feature"
with a picture of a hideous space monster attacking a young
woman. We PAN over to find Liz and Maria...

INT. WEST ROSWELL HIGH - LOCKERS - DAY

...at their lockers. Maria stares at the flyer.

LIZ
You're being ridiculous.

MARIA
I can't help it. This whole thing creeps
me out. I can't get these visions out of
my head.

Liz rips the flyer off the wall and crumples it up.

LIZ
I told you to eat a banana. The potassium
relaxes you.

MARIA
Nothing relaxes me. Have you heard? We
actually know creatures from another
planet.

LIZ
(looking around)
Shhh...

MARIA
I mean, why are they here?

LIZ
They dont' know why they're here.

MARIA
So they say.

LIZ
I trust Max.

MARIA
But what about Isabel? And Michael. I
thought he was weird before I knew what
he was.

LIZ
He's not a "what," he's a "who."

MARIA
Do you know what they call people like
us? Innocent pawns. And do you know
what happens to innocent pawns? Either
the cops beat confessions out of us with
rubber hoses or they take us up in their
ship, stick us with probes and performs
excruciating experiments on us for the
rest of eternity.

LIZ
Excruciating?

MARIA
Hey, I'm quoting, okay?

LIZ
(squarely)
Maria, the only way this situation is
ever going to get out of control is if
you or I tell anyone about it. And that's
never going to happen. Right?

MARIA
(trying her hardest)
Right.

She looks down the hall way at Isabel who is putting things
in her locker. Isabel looks up, knowing.

ISABEL
(prelap)
She's going to spill her guts.

EXT. WEST ROSWELL HIGH - COURTYARD - DAY

Isabel and Max both have lunches packed from home. Michael
has a can of Coke and isn't really interested in anything
else but the key that he holds in his hand.

MAX
She'll be fine.

Isabel divides their two lunches three ways as she talks.

ISABEL
You should have seen her with Valenti.
She's weak, frightened and doesn't have
the psychological or emotional capacity
to deal with this. Tell him.

She puts a sandwich in front of Michael who ignores it.

MICHAEL
I just think she's kinda nuts.

MAX
(defensively)
Come on --

ISABEL
Okay, maybe she won't talk today. But
how about a year from now? Or ten?

Or twenty? What happens then?

Max can't answer that one.

MICHAEL
(re: key)
I don't plan to be around to find out.

Isabel doesn't like his thinking.

ISABEL
That key is a needle in a haystack,
Michael. You're never going to find --

MICHAEL
How do you know?

Isabel is tense. Max knows he must calm them both down.

MAX
We take it one day at a time, just like
always. And we deal with problems as
they come, not as we imagine them.

Michael looks at him, holds the key up between their faces.

MICHAEL
How can you just sit there and do nothing
when this could lead to everything we
want to know?

MAX
I just want to be safe.
(re: key)
So put that away. Valenti can't know we
have it. Right now it's more dangerous
to us than Liz or Maria.

Isabel notices Maria sitting in a classroom.

ISABEL
She has to be monitored. Kept in line.

MAX
You can't just threaten her.

ISABEL
Why not?

MAX
You've go to try to deal with her.

ISABEL
It's impossible. She's irrational.

They all look over at Maria who just happens to glance out
the window to find them all staring at her. She gets so
nervous she falls out of her chair.

MICHAEL
She is kinda weird.

INT. TOPOLSKY'S COUNSELING OFFICE - DAY

A typical teacher's room. Motivational posters line the wall.s
Topolsky turns around and smiles, friendly into the camera.

TOPOLSKY
Why don't you start by telling me what
your dream job would be?

SERIES OF JUMP CUTS

...where several students answer this question:

GIGGLY GIRL
I wanna be Brad Pitt's love slave.

HEAVY METAL KID
Lead guitar for Metallica.

ISABEL
Fashion model.

RED HAIRED GIRL
Can I say lawyer without you thinking I'm
a bad person?

MARIA
Like I have any skills...

LIZ
A molecular biologist, or, dream, dream,
dream job, head of molecular biology
research at Harvard.

BACT TO TOPOLSKY
...writing their answers down in their
files.

TOPOLSKY
That's fantastic. Now, what job do you
think you'll actually have in ten years?

BACK TO THE JUMP CUTS OF THE KIDS

GIGGLY GIRL
Cheese factory, I guess.

ISABEL
I usually get what I want.

RED HAIRED GIRLS
Cheese factory, maybe in the office part.

MARIA
We could all be dead in ten years.

HEAVY METAL KID
Video store.
(beat)
No, wait. Cheese factory.

LIZ
Molecular biologist. I'd be too young to
be head of research yet, don't you think?

BACK TO TOPOLSKY
...trying to process Liz's reply.

TOPOLSKY
Okay... How about we play a simple
relationship game? Tell me which character
in this drawing is the most like you and
tell me what they're doing at the park.

Liz studies the drawing.

LIZ
(pointing)
Oh, I used to do that all the time.

TOPOLSKY
Build sandcastles?

LIZ
(animated)
I tried for weeks to build one of those
turrets because you can't have a real
castle without a turret. I even made my
Dad take me to the library and get a book
on sandcastles. All I had to do was follow
the directions. It took a few tries, but
once my friends did what I told them to
do, voila! We had a turret.
(realizing)
I mean, it's not like I forced them to ro
anything. It was more like a team and I
was like the team leader.

TOPOLSKY
The one with the plan.

LIZ
Exactly. By the end of the summer I
planned a whole city and the newspaper
came and took a picture of it.

TOPOLSKY
You make lots of plans, don't you?

LIZ
Gotta have a plan.

TOPOLSKY
What about taking life at it comes?

Liz just stares at her for a beat.

LIZ
(decisively)

TOPOLSKY
Sometimes you don't have a choice.

Off Liz as she ponders this, uncertainly.

LIZ
(prelap)
This is the new schedule.

INT. CRASHDOWN CAFE - BACK ROOM - DAY

Liz stands in front of a dry-erase board with an elaborate,
color-coded chart. Maria in uniform and four other waitresses
in street clothes are there.

LIZ
It will make our shifts run smoothly and
efficiently if we all respect it. No
more getting caught short-handed, no more
last minute cashier emergencies. It's
all worked out perfectly right here with
my color-coding system so if you want to
make a change, tell me so I can make sure
nothing disrupts the overall plan. Any
questions?

WAITRESS
Can we go back home now?

LIZ
Yes.

They scatter like cockroaches, leaving Liz and Maria.

MARIA
(re: chart)
Nice colors.

LIZ
(proud)
Thanks. Okay, back to work.

Maria goes back into the cafe through the swinging door, but
one second later comes back in, crashing into Liz.

MARIA
You take the front. I should really do
that can inventory your father --

LIZ
(what the hell?)
Maria...

MARIA
(beat)
She's out there.

LIZ
Who?

MARIA
Barbarella.

Liz looks out, sees Isabel sitting in a booth.

LIZ
Maria, this is crazy --

MARIA
I can't help it, I live my life in constant
fear of her, moment to moment, knowing
each one could be my last.

LIZ
Maria, calm down.

Maria takes out a small brown bottle.

MARIA
Calm down? You see this? Essence of
rosemary oil. Very calming. I've been
taking a frigging bath in it for a week
and all that's happened is that I smell
like a leg of a lamb!

LIZ
Listen to me. You've got to control
yourself.

MARIA
How?! How do you do it?

LIZ
Just make sure this...
(she points to her head)
...is always stronger than this...
(she points to her heart)
You can overcome your fear. Just use
your brain.

MARIA
Easy for you to say, you've had more
practice.

LIZ
Look, we're kind of like stuck with each
other, the five of us. Can't you just
try to be friendly with Isabel? Pretend
she's like your cousin that you can't
stand but you have to be nice to on the
holidays.

Liz stares her down. Maria knows she's right.

MARIA
Sure. Great. Just one big happy family.

She takes a deep breath and heads into...

INT. CRASHDOWN CAFE - CONTINUOUS

...where she immediately locks eyes with Isabel, who sits in
a booth. Maria forces herself to go over. Awkward beat.

MARIA
Hi.

Isabel feels just as awkward but tries as well, remembering
what Max said.

ISABEL
Hi.

MARIA
So...

ISABEL
So... how about some fries?

MARIA
Fries! Great choice. Really great.

ISABEL
Thanks.

Awkward beat. They each force a smile then Maria goes behind
the counter to place the order. The front door opens. Isabel
glances over to find Valenti taking our a handkerchief and
mopping his brow. Why is he here? Valenti looks over, then
moves to the counter.

VALENTI
Coke, please.

Maria turns around, sees him and freaks out, knocking over
the napkin holders she was filling.

MARIA
What are you doing here?

He watches her gather the dispensers then spill them again.

VALENTI
I'm thirsty.

Liz comes out, hears the noise and sees Valenti with Maria.
Maria looks helplessly toward her. Liz casually brings her
hand up to her head and taps it with her finger, reminding
her of their conversation. Maria looks back at Valenti who
has noticed her nerves.

VALENTI (CONT'D)
You do have Coke, don't you?

MARIA
(dry-mouthed)
Yes. Yes, we do.
(beat; hoping)
To go?

VALENTI
That'll be fine.

He watches her hand shake as she dispenses the drink, fumbles
with the lid and spills the straws. She hands it to him with
as much composure as she can muster.

MARIA
Is there anything else I can tell you
today, Sheriff?

Valenti's eyebrows go up, inquisitively.

MARIA
Get! Get you today? Anything else?

VALENTI
Actually...

Maria practically holds out her wrists for the cuffs.

VALENTI
I need your insurance information for
that little fender bender we had this
morning. City regulations.

He hands her his card. Maria looks at Isabel who stares back
at the transaction. Valenti notices.

VALENTI
Is everything all right here?

MARIA
Of course it is. Sir.

VALENTI
You seem to be...

He glances at Isabel.

VALENTI
...worried about something.

MARIA
Who me? No. Nothing. Happy as a clam.

But his eyes see something else.

VALENTI
(beat)
I'm here to protect you. From anything.
Do you understand?

She looks up to him now like he's John Wayne, finding herself
nodding in trust. Liz appears at her side.

LIZ
Time for that can inventory, Maria. Can
I ring this up for you, Sheriff?

Valenti looks at them both, then hands Maria a dollar and
locks eyes with her once more.

VALENTI
Keep the change.

Valenti exists past Isabel, nodding. Off Liz as Isabel's
stare sends Maria running to the back.

LIZ
One big happy family.

FADE OUT.

END OF ACT ONE

ACT TWO

FADE IN:

EXT. WEST ROSWELL HIGH - DAY

Isabel, Max and Michael walk as they talk.

ISABEL
One more day, tops, before she cracks and
we're all whisked off to some government
science lab for the rest of our lives.

MAX
Maria wouldn't do that to us.

ISABEL
How do you know?

MAX
Liz trusts her.

ISABEL
You didn't see her hyperventilating into
a take-out bag after Valenti left.

MICHAEL
And I suppose you had nothing to do with
that?

ISABEL
I was nice. I order fries. She's a weak
link, Max.

MAX
All right, I'll talk to Liz about her,
find out where her mind's at.

ISABEL
Good. Because there's always my way of
getting into people's minds if you don't.

MAX
(warning)
I said I'll talk to Liz.

ISABEL
When?

MAX
After my career week interview.

MICHAEL
You're actually going?

MAX
It's mandatory.

MICHAEL
So's math but you don't see me there, do
you?

CLOSE ON THE PLAYGROUND DRAWING

We see a boy standing behind a tree, looking at the others.

MAX (O.S.)
I don't know... I guess the kid there...

INT. TOPOLSKY'S COUNSELING OFFICE -DAY

It's Max's turn. He is very guarded.

TOPOLSKY
Are you playing a game with your friends?
Hide and go seek?

MAX
No.

TOPOLSKY
Do you like games?

MAX
Not really.

She looks into his eyes, as if searching.

TOPOLSKY
Do you like answering these questions?

He looks back, giving nothing away.

MAX
Not really.

TOPOLSKY
Sometimes it's not a bad thing to open
up. Especially if you find the right
person to talk to.

The CLASS BELL RINGS. They stare at each other for a beat.

MAX
I'm late for class.

She smiles, back to her cheerful self.

TOPOLSKY
We'll continue another time.

She watches him leave, then turns to her file.

CLOSE ON TOPOLSKY'S FILE

Next to Max's name she writes "HIDING SOMETHING." Next to
Michael's name she writes "ABSENT."

CLOSE ON A MOLECULAR MODEL

...being held by MS. HARDY, the biology teacher.

MS. HARDY (O.S.)
Outside forces...

INT. BIO LAB - DAY

She moves through the classroom as she talks, passing students
who are preparing their labs by filling sausage casings with
molassess, then suspending them in water. Max and Liz are
back to back, working separately.

MS. HARDY (CONT'D)
Nothing in the universe is immune to them.
If no man is an island, then no molecule
lives in a vacumm. Heat makes them expand,
cold forces them together. They even
affect each other.

Max and Liz both reach for the same bottle of molasses at the
same time, almost knocking it over. Liz makes the save.

LIZ
Here, go ahea.

MAX
Ladies first.

She smiles. liking the refrence, then starts to pour the
molasses into her casing. It's awkward and messy.

MAX
I'll help you if you help me.

LIZ
Deal.

They work as messily together but manage to get the job done
as Ms. Hardy continues, their hands and arms interwined,
bringing them closer together than they should be.

MS. HARDY
make sure to keep a control for comparison.
I'll be coming around individually to
check your work.

They hand their molasses sausages, one in ice water, one in
boiling water and one in lukewarm water. Then they watch as
they grotesquely expand and contract.

MAX
I'll never eat my grandmother's molasses
cookies again.

LIZ
(without thinking)
You have a grandmother?

MAX
(without thinking)
Sure, she lives in Boston.

LIZ
But, I though you didn't know where you
came...

Max looks at her, realizing what she meant. And she looks
away guiltily, realizing what she meant.

LIZ (CONT'D)
...from.

MAX
(explaining)
My father's mother.

LIZ
(embarrassed)
Of course. Your grandmother.

Max want to talk more privately. He puts his hand on the
edge of the tabel where Liz's notebook sits and causes the
edge under the book to buckle, sending it to the ground. Liz
goes under the table to pick it up and he follows her.

MAX
(whispering)
Look, I know this is all really strange --

LIZ
No, not at all --

MAX
And keep a secret like this is a lot of
pressure --

LIZ
(looking around)
Max, I would never --

MAX
I know. Never on purpose. I believe
that.
(beat)
But what about Maria?

LIZ
Maria? Maria? She is completely
trustworthy. Like a fortress. The Fort
Knox of friends.

MAX
Isabel said she was a little nervous with
Valenti this morning at the

Crashdown --

LIZ
PMS. Basket case once a month.

MAX
Maybe you could talk to her --

LIZ
We all have our bad days, every once in a
while. I mean, she's only human, right?

Again, wishing she could put the words back in her mouth.

LIZ
I can handle this. She can hadle this.
I'ts absolutely not a problem.

She stands up confidently but catches her sleeve on her
experiment, sending it crashing to the ground. Ms. Hardy is
right there.

MS. HARDY
You seem to have lost your control.

LIZ
(flustered)
Absolutely not a problem.

Off Liz as she tries to clean up the mess.

INT. CRASHDOWN CAFE - DAY - CLOSE ON THE PASS-THROUGH

...where many orders are waiting to be picked up. The cook's
hand RINGS the BELL impatiently as Maria rushes up.

MARIA
Cut it out with the bell, okay? I'm like
flying solo here.

She takes several plates over to a booth.

CUSTOMER
Miss, may I have some ketchup, please?

MARIA
Right over there behind the counter.

CUSTOMER
Why are you the only one here?

MARIA
Because Karen thought her color was purple
and Stephanie thought her color was blue
and Agnes couldn't read the schedule at
all so she just went home.

She rushes over to the resgister where ARLENE, a tourist from
New York waits with three small children. Her son, COREY,
waves around an annoying alien ray gun, shooting at everything
he sees.

ARLENE
Corey! Stop it with that thing or we're
not going to the museum.

COREY
Must kill all aliens.

He swings around and points the gun right at Max who has just
walked in. He fires and Max flinches slightly, then smiles.
He looks at Maria who is visibly upset. Arlene gets mad.

ARLENE
What did I say?

MAX
(to Maria)
Liz here?

MARIA
(nervously making change)
If she were, I'd kill her.

MAX
Tell her I just wanted to see how she was
doing after bio--

Arlene's youngest starts to cry because her brother is pointing
the ray gun in her face. Arlene picks her up.

ARLENE
(to Max and Maria)
Excuse me, but there's nothing scary in
that UFO Center, is there? I mean...
(whispering)
...there's nothing real or anything...

MAX
I've never really been in --

Maria, flustered, hands her the change.

MARIA
(adamant)
Of course not. What would ever make you
think that? There's not such things as
aliens, especially anywhere around here.

COREY
That's not what it said on the menu.

He shoots his laser gun at Maria.

ARLENE
Knock it off!

They leave and Max studies Maria.

MAX
Are you okay?

MARIA
Of course I'm okay! Don't I look okay?

MAX
Well, you just short-changed that woman
ten dollars.

MARIA
Oh, God...

She grabs a ten and knocks on the window to no avail.

MARIA
I can't leave, I'm the only one here!

Max can't help noticing how jumpy she is.

MAX
Take it easy, I'll take it to her.

MARIA
Are you sure?

MAX
Why not?

CLOSE ON AN ANIMATRONIC ALIEN

...your typical likeness, four feet tall, large bald head,
smooth grey skin, almond-shaped eyes.

ANIMATRONIC ALIEN
Hi! I'm AL! That's short for Alien.
Welcome to the Roswell UFO Center and
Research Library!

INT. UFO CENTER - ENTRYWAY - DAY

Max stands next to the plastic alien, staring at it
uncomfortably as it talks. They are in a dark hallway with
black lights for mood, in front of an automatic door.

ANIMATRONIC ALIEN (CONT'D)
Inside these doors lie the secrets and
mysteries of the universe. Are you ready
to find out?

Max just stares at the little thing until a loud HISS startles
him and a billow of smoke rises from the automatic door as it
slides open, revealing...

THE MAIN MUSEUM
...a large, high-ceilinged room with
exhibits and dioramas. Max looks around,
half in fear, half in disbelief. Exhibit
titles such as "Who Are They?", "Where
Did They Come From?", "Are They Still
Here?" capture his attention. He ventures
a step or two further until...

STRANGE VOICE
(accusing)
Stop right there.

He turns around to find a diminutive woman in her sixties
wearing a Century 21-type jacket with a flying saucer insignia
on it. This is TOOTS. She gives him the once-over.

TOOTS
I know what you are.

Max is nervous, wants to run. She walks right up to him,
unafraid, her eyes boring into him.

TOOTS (CONT'D)
You're one of those kids who thinks they
can just sneak right in without paying,
aren't you?

MAX
(relieved)
How much is it?

TOOTS
18 and under, two fifty.
(he pays)
Please proceed to the tour already in
progress in the diorama area.
(beat)
I've got my eye on you.

He nods at her and slowly finds his way to where a man, mid-
forties, also wearing a nifty UFO Center jacket, is lecturing
to a small crowd as they pass life-sized recreations of the
events he describes. This is MILTON ROSS, curator of the
museum and true believer, with the hint of a William Shatner
delivery. Homage? Probably just over-acting.

MILTON
...and so, on July 4th, 1947, after all
the fireworks had been shot off, after
all the apple pie had been eaten and while
good Americans like you and me were gettng
ready for a good night's sleep...
(dramatic pause)
...They came. The evidence suggests that
they had been studying us for quite some
time. To what end? We'll never know.
But on that fateful night, something went
terrigly wrong and one -- though some say
more than one of these alien crafts --
crashed onto our planet, starting what
was to become the most elaborate cover-up
mankind had ever known.

The crowd follows Milton, allowing Max to see the diorama. A
flying saucer imbedded into some Styrofoam rocks with alien
bodies strewn about. He stands there alone for a beat.

TOOTS
(out of nowhere)
Move along!

MAX
Sorry.

He goes to the next diorama, an autopsy room with an alien
strapped to the table. Milton's melodrama continues. Tourists
take turns photographing themselves in the display.

MILTON
There are eyewitness accounts from people
still living in Roswell today of debris
fround in the desert made of strange metal,
inscribed with purple heiroglyphs. There
are others who, on their deathbeds, spoke
of being present at alien autopsies and
of the threats that were made to their
lives and the lives fo their families
should they ever speak of what they saw.
(beat)
Imagine, ladies and gentlemen, living
your whole life with this terrifying
secret, not even being able to share it
with your loved ones for fear of their
safety. I don't think anyone here today
would be strong enough for that.

Max swallows hard.

MILTON (CONT'D)
Now, are there any questions before we
enter the video theater?

PRE-TEEN BOY TOURIST
I heard they found some fo the aliens
still alive and tortured them until they
gave us all their technological secrets
and that's how we have cell phones and
computers and velcro today.

MILTON
There are many theories, son. Many
theories.

WHITE TRASH WOMAN TOURIST

They ever come back again? You know, like to rescue the ones
in the crash?

MILTON
There have been sightings in this area on
a regular basis since that night.

Adn of course there was the 1978 Burger Kind incident when
the young man operating the drive-thru window swore he had
contact through his headphones.

The crowd murmurs. Max clears his throat, not really sure he
should do this, but here it goes.

MAX
What about 1959?

Milton's head snaps up.

MILTON
Who said that?

Milton cranes to spot the asker. Max immediately blends into
the crowd, sorry now that he ever said anything. Milton scans
the tourists with his eyes.

MILTON
Let's move on to the documentary portion
of our tour. Right this way.

As the tourists file passed him, Milton notices Max leaving
the group and heading toward the exit. Max, just wanting to
get out, doesn't notice Arlene's toddler under foot until he
almost runs over her. He stops to make sure she's all right.

ARLENE
Wendy! Do I need to get a leash?

Arlene scoops the child up and Max remembers the ten dollars.

MAX
(quickly)
This is yours. You left it at the cafe.

ARLENE
Hey, thanks. Very friendly people here.

Max turns to go and comes face to face with Milton.

MILTON
(conspiratorially)
What do you know about 1959?

MAX
(beat)
Is there something to know?

MILTON
Come back tomorrow. We can talk more.

Toots yells over from her station.

TOOTS
Milton! Start the video!

MILTON
Yes, Mother.
(to Max)
Tomorrow. I have something you may be
interested in.

Max watches Milton hurry back tot he video theater then
approaches the same door he entered through.

TOOTS
Entrance only. Exit through the gift
shop, and don't even think about
shoplifting. Oh, and please, come again.

Off Max as he reads the inscription painted on the wall above
the door:

"The Answers Are Out There" FADE TO...

THE MILKY WAY

...visible in the clear New Mexican night sky. WE TILT down
to find...

EXT/INT. MAX'S ROOM - NIGHT

Max stargazing in the window seat of his bedroom. It's clean,
uncluttered, as if he rented instead of owned.

ISABEL (O.S.)
Looking for something?

He turns to find her next to him.

MAX
Just thinking...

She sits on the other side of the window seat.

ISABEL
About what?

MAX
What if we had another Grandmother out
there somewhere, waiting for us to come
home?
(beat)
Or another Mom and Dad?

She takes a beat. She's thought about this, too.

ISABEL
What if there wasn't?

MAX
You're afraid of what Michael might find
if he keeps looking, aren't you?

ISABEL
Aren't you?

MAX
But what if there was someone who did
know something? Would you go after it?

ISABEL
I like things the way they are.
(beat)
Did you talk to Liz about Maria?

MAX
She says she's fine.

ISABEL
That girl is the antithesis of fine.

MAX
You promised you'd give her a chance.

ISABEL
I tried. It's her. She won't let me in.
I'll just have to get there another way.

MAX
(catching on)
Don't do it, Is.

ISABEL
She won't even know.

MAX
Remember when you did it to Mom? She
wouldn't go back to sleep for a week.

ISABEL
I've been practicing.

MAX
Oh, great...

ISABEL
At least I only talk to people when they're
asleep.

MAX
Isabel --

ISABEL
'Night, Max.

She leavesd before he can protest further.

INT. EVANS HOUSE - ISABEL'S ROOM - NIGHT - CLOSE ON THE
ROSWELL HIGH


YEARBOOK

...as we flip through the pages, landing
on Maria's picture. Isabel lies in her
bed. The clock reads 3:12 A.M. Isabel's
finger touches Maria's picture.

INT. MARIA'S ROOM - NIGHT

...where Maria is fast asleep.


BACK TO ISABEL

as she lays her head next to the picture,
closes her eyes and we see their faces
together. There is an ENERGE EFFECT,
like lightning. Only we know there wasn't
a cloud in the sky.


BACK TO MARIA

...as we see a smiliar ENERGY EFFECT on her.
We are suddenly...

INT. AIRPLANE CABIN - DAY

Liz and Maria, in the airline version of their cafe uniforms,
hair done in the 50's stewardeness style push a cart down the
aisle.

IRATE VOICE
Gimmie more ketchup!

LIZ
Some people are just pigs.

MARIA
Tell me about it.

She takes a cafe plate out of the cart with a big, greasy
cheesburger and fries on it and puts it down in front of a
live pig sitting in the middle seat between two passengers.
The move to the next row. Maria looks down to find Max,
reading a magazine and Michael, wearing a tuxedo.

MARIA
Coffee, tea or --

Isabel suddenly materializes into the aisle seat next to them.
She looks slightly different than anyone else, shinier, more
electric. She wears her pajamas. Maria recoils.

MARIA
How did you get on this flight?

ISABEL
(shows Maria's photo)
I bought a ticket. So we could talk. I
believe I ordered the fries.

MARIA
Well, ba-bye. This is my dream.

ISABEL
Sorry, I control myself in here. One of
those extra-terrestrial perks.

MARIA
Well then, tell them to get off.

Isabel notices Max and Michael.

ISABEL
(to Michael)
What are you wearing?

MARIA
I like him in that, okay? It makes me
less afraid?

ISABEL
Afraid of what?

Maria looks over at Michael. He MORPHS into the grotesque
"Alien" monster from the Film Club Flyer. Max just continues
to read a magazine, but he image really rattles Isabel. One
of Michael's long, slimy tentacles reaches out and grabs
Maria's wrist. She screams. The entire plane stares at her.

MARIA
Help! I have to tell the Captain.

She werestles herself away only to come face to face with Liz
who blocks her from the cockpit with the cart.

LIZ
You're not telling anyone.

Maria pulls Valenti's card out of her pocket.

MARIA
Captain!

Valenti steps out of the cockpit in full pilot's dress.

VALENTI
You look a bit pale, Miss DeLuca.

Maria pushes Liz and the cart aside and heads toward Valenti.
Isabel comes between them.

VALENTI (CONT'D)
I didn't know you and Miss Evans were
friends.

MARIA
We're not! She's a horrible distusging
creature from outer space.

Isabel looks almost sad. Maria sees the cabin door suddenly
open, panics.

Isabel brings her to the edge, no-nonsense.

ISABEL
Are you afraid now, DeLuca?

MARIA
Yes...

ISABEL
Good. Remember this feeling the next
time you think about talking to Valenti.
(beat)
Anything can happen if you're not careful.

Isabel blows on Maria's face as if blowing a feather. She
falls out of the plane. We hear a SCREAM and at THUD.

INT. MARIA'S ROOM - NIGHT

Maria falls out of bed, the ENERGY EFFECT leaving her body.

INT. ISABEL'S ROOM - NIGHT

The ENERGY EFFECT goes backwards now, like volts going back
into her body. She comes out of it exhausted.

INT. MARIA'S ROOM - NIGHT

...on the floor. She breathes hard, panicked, then realizes
she's safe in her own room. PUSH IN to the clock. 3:13 A.M.

END OF ACT TWO

ACT THREE

FADE IN:

INT. LIZ'S ROOM - MORNING

Liz gets her books together for school as Maria, in cafe
uniform, applies cover-up under her eyes in the mirror.

LIZ
You really dont' have to be so nervous
about her, you know.

MARIA
Oh, like you were on the flight?

LIZ
In fact, I think you should just try to
calm your nerves in general.

MARIA
You're not listening to me, are you? It
was like the dream part was a dream but
the Isabel part... it was so totally real,
like she was just stnding there, scaring
the life out of me, just like normal.

LIZ
The less sleep you get, the more paranoid
you become. They've done studies.

MARIA
I am not paranoid.

LIZ
What's that behind you?

MARIA
(whips around)
Where?!

LIZ
(point proven)
I've got to make up my bio lab. Just
don't let your brain fail you. When that
happens, then Max can start worrying.

She leaves and Maria follows.

MARIA
Max? Max is worried?

INT. LIZ'S HOUSE - STAIRS - CONTINUOUS

...that lead down into the restaurant, Maria chases Liz.

MARIA
He's worried about me, isnt' he? They
all are, aren't they? Now what am I going
to do? She pushed me out of a plane, and
now she's out there having breakfast like
some kind of stalker, waiting for me to
slip up so she can incinerate me.

Liz is now at the back door.

LIZ
You're not going to slip up. Remember in
sixth grade when I accidently sat on Nancy
Cremo's popsicle stick model of the Lincoln
Memorial and you saw me do it, but you
covered for me?

MARIA
(beat)
I told her.

LIZ
(outraged)
You told her?

MARIA
See? I'm a gut-spiller, a sparrow.

LIZ
Canary.

MARIA
Whatever.

LIZ
If I don't make my bio lab up, my grade
will slip half a point.

MARIA
God forbid you should get an A-minus.

LIZ
(torn)
Stay strong.

Liz exits out the back door leaving Maria alone.

MARIA
Stop saying that!

INT. CRASHDOWN CAFE - DAY - CLOSE ON A COUPLE

...leaving a booth behind Isabel who is eating breakfast.
She looks tired, sporting a pair of sunglasses like someone
with a hangover. Maria goes to the table the long way,
avoiding her, and starts bussing the messy dishes.

Isabel smiles, enjoying what she is about to do.

ISABEL
Some people are just pigs.

Maria almost drops the dishes, remembering the line from her
dream.

ISABEL (CONT'D)
Can I hve some more coffee? I fell a
little jet-lagged this morning.

She rushes the dishes to the waitress station and Isabel
smiles.

MARIA
(to herself)
Strong, I'm strong.

She grabs a wet cloth and heads back over to clean the table.
There is already a new customer sitting there wearing a
baseball cap and t-shirt, his back to her as she approaches.

MARIA (CONT'D)
Welcome to the Crashdown Cafe, can I take
your --?

She looks down to find Valenti smiling at her.

MARIA
(feaked)
Captain! I mean, Sheriff. I mean, what
are you doing here?

VALENTI
I enjoyed the Coke so much, I though I'd
give breakfast a try. Anything special
you'd like to tell me about?

MARIA
No!!

He knows what he's doing to her and he takes his time.

VALENTI
It says on the board there you've got
corned beef hash.

MARIA
Right. Sorry. The Heavenly Hash special.

VALENTI
Is that what you'd recommend?

MARIA
Absolutely.

VALENTI
Well, you seem to know a lot about what
goes on around here so I'll trust your
judgement.

Maria is dying on the inside, knowing Isabel is hearing this.

MARIA
Great. Heavenly Hash.
(weakly; hoping)
To go?

VALENTI
I'll eat it right here this time. Byt he
way, the insurance company took care of
everything. It's good to have a strong,
dependable institution like that on your
side. Lets you sleep better at night,
huh?

Maria walks away, looking ill. Valenti smiles, satisfied.

INT. WEST ROSWELL HIGH - BIO LAB - DAY

Liz is alone, absently redoing her molasses experiment. She
makes a mistake, starts again. Ms. Hardy comes over.

MS. HARDY
You know, we both know you understand the
fundamentals of this experiment.

You've never had trouble with a lab before.

LIZ
I'm sorry, I just --

MS. HARDY
Don't worry about it. You're the most
conscientious student I have. So, instead
of redoing this on, I've prepared a quiz
on the entire semi-permeable membrane
unit for you. Just answer these questions
and we'll consider it another "A," okay?

Liz looks at the test Ms. Hardy hands her with dread.

INT. CRASHDOWN CAFE - DAY- CLOSE ON THE LAST BITE OF HASH

...as Valenti pushes it on to his fork and eats it. We PULL
BACK to include Maria, right there waiting with his check.

MARIA
Thank you for dining at the Crashdown.
Please pay up front.

She turns to make a clean getaway but...

VALENTI
How's your neck doing?

MARIA
My neck?

VALENTI
That was quite a hit you took from that
car the night of the festival.

Maria sees Isabel glancing at her. Warning her.

MARIA
Oh, that? That was nothing.

VALENTI
I never got to follow up with you about
that accident.

MARIA
Totally unnecessary --

He stands, his commanding presence felt even out of uniform.

VALENTI
You seem to be having a lot of accidents
lately. Why don't you come by my office,
say tomorrow about this time? Bring your
parents if you'd like.

We'll have a good, long talk.

(PAYING)
Thanks for the tip. You're a real smart
girl. Best hash I ever had.

He leaves and we find Isabel who looks much less confident
than before. Is this the beginning of the end?

EXT. UFO CENTER - DAY

Max watches from a distance as Miltong passess out coupons to
passers-by.

He wants to go back but can't bring himself to do it. He
turns and walks away.

TOPOLSKY
(prelap)
Are you having a hard time with something
in your life right now, Max?

INT. TOPOLSKY'S COUNSELING OFFICE - DAY

Max is back on the couch, as unrevealing as ever.

MAX
No, not at all.

TOPOLSKY
Because some adopted kids go thorugh tough
times right around this age. You know,
identity issues, things like that.

MAX
What does that have to do with my career
path again.

TOPOLSKY
(sincerely)
I'm just trying to get to know you a little
better. I took a look at your school
record, but it doesnt' realy tell me much.
No clubs or sports or after-school
activities.

MAX
I usually go home to study.

TOPOLSKY
Yes, you're an excellent student. Are
you thinking about college?

MAX
It's a little soon for that.

TOPOLSKY
Two years? You don't think that far ahead?

MAX
I like to live in the present. You never
know what's going to happen next.

TOPOLSKY
Sometimes nothing happens.
(beat)
Unless you make it happen.

INT. BIO LAB - DAY

Where Liz is struggling with her quiz. She HEARS a TAP but
doesn't pay attention to it. Then ANOTHER TAP. Annoyed, she
glances out the window into the courtyard. Maria is standing
there flailing her arms, trying to ge Liz's attention. She
beckons Liz to come out immediately. Liz indicates her test.
Maria writes on her notebook in big letters "NOW." Liz walks
up to Mrs. Hardy's desk.

LIZ
I'm finished.

Ms. Hardy notices the scratch-outs on her test.

MS. HARDY
Are you sure?

EXT. COURTYARD - DAY - CLOSE ON MARIA

MARIA
Dead, I am so dead, we are so dead, all
of us, D-E-A-D, dead.

Liz just looks at her.

LIZ
Maybe you're over-reacting.

MARIA
Hello? You're acting like one of those
slasher movie people who don't believe
their best friend and end up with a hatchet
in their head. I am being brought in for
questioning, as in Spanish Inquisition,
and I'm tired of you not taking me or my
paranoia seriously! Now maybe this is
something that brilliant people like you
can handle with their hands tied behind
their back but regular people like me are
having some major difficulties here. So
what do we do now?

LIZ
(beat)
We prepare.

INT. TOPOLSKY'S COUNSELING OFFICE - DAY

Where she continues to try to draw Max out.

TOPOLSKY
I'm going to read you some career areas
and you stop me when you hear one that
interests you, okay?
(Max nods)
Law..Medicine..Business...Civil
Service...don't forget to stop me.

MAX
I won't.

Engineering...Architecture...Armed Service...Sports...nothing
yet?

MAX
They all sound interesting.

TOPOLSKY
But nothing you'd commint to?

MAX
Not yet.

TOPOLSKY
What about when you were a child? What
did you dream of becoming, say, when you
were five?
(beat; no anwer)
You don't remember anything before you
were adopted, do you?
(beat)
Were you ever in therapy, Max?

The CLASSS BELL RINGS. There's a long pause.

MAX
Law.

TOPOLSKY
What?

MAX
My father's a lawyer. That's what I want
to go into.

Another long pause, Topolsky sure he's hiding something now.

TOPOLSKY
Your future's in your own hands, Max.
Remember that.

Max nods, then leaves. Topolsky gathers her student files
making a big pile, then takes Max's file and puts it aside.

INT. UFO CENTER - DAY

...as Max enteres through the automatic door.

TOOTS
You again. It's still two fifty.

MAX
(paying)
Is Milton here?

TOOTS
It's his quiet time. He gets
overstimulated very easily.

MAX
I just need a minute.

TOOTS
It's the door up those stairs.

She points to a room upstairs with a mirrored window.

TOOTS (CONT'D)
Wait! It's Antennae Day.

She hands him a headband with two silver balls attached by
springs. He takes them, walks up the stairs and knocks.

MILTON (O.S.)
It's quiet time, Mother.

MAX
It's Max Evans. From yesterday.

The door opens in a flash, revealing Milton in a short sleeved
shirt, his tie a little loose.

MILTON
Come in.

He practially pulls him into...

INT. MILTON'S OFFICE - CONTINUOUS

...a small, clutterd room trying to be important. The mirrored
window looks out over the museum.

MILTON
Like it? Just like your finer Vegas
casinos. Gotta keep your eyes on the
action at all times, especially with my
archives so close.

MAX
Archives?

MILTON
Only the most complete collection of UFO
findings ever compiled.

MAX
(beat)
Including information from 1959?

MILTON
All right, cut to the chase, kid. Don't
tease me. What do you know?

MAX
(carefully)
I thought you had something to show me.

MILTON
(beat)
Fine. If that's the way you want to play
it...

Miltong goes to his desk and takes a crowded key chain out of
his pocket.

Unfortunely, the chain is rather short and he has to put his
hip close to the drawer in order to unlock it.

MILTON
I'm about to show you unmitigated proof
that aliens walk this earth.

He presents Max with a photo as if it were the Holy Grail.

CLOSE ON THE PHOTO

...of a pudgy young boy outside an ice cream parlor. A shadow
is thrown across the ground from behind the building looking
just like one of the plastic aliens from the museum.

MILTON (CONT'D)
I was that boy. Only six and that close.

Max is disappointed but not surprised.

MILTON
Ever since then I've spent my entire life
in search of aliens and I swear on my
mother's grave that one day I will stand
face to face with one of these creatures
and say... "I told you so." Now... what
do you know about 1959?

MAX
Only that there was a sighting near this
ice cream parlor.

MILTON
Damn, I thought you had something.
(beat)
Look, I know you're hooked. I can see it
in your eyes. I could use a guy like you
around here. Minimum wage, long hard
hours, but imagine the rewards when we
make the discovery of a lifetime. What
do you think?

MAX
I think you're very close to the truth...
but I'm not looking for a job right now.

TOOTS (OVER LOUDSPEAKER)
The tour is commencing without the guide.

MILTON
You'll be back. I can smell it.

As they leave the office, Milton closes the door behind them,
revealing a poster of a manacing looking alien with the caption
"Wanted: Dead or Alive."

FADE OUT.

END OF ACT THREE

ACT FOUR

FADE IN:

INT. LIZ'S ROOM - DAY- CLOSE ON A LAMPSHADE

... being removed, revealing a glaring bare bulb. We see
that Maria has done the same thing to two other lamps. Liz
walks in with some sandwiches.

LIZ
What are you doing?

MARIA
They use bare bulbs to wear suspects down
in interrogations.

Liz puts the lampshades back on as she talks.

LIZ
You're only a suspect if you act like a
suspect.

MARIA
Oh, really? Is that what you've found
all the time you've been questioned by
the police?

LIZ
The only way you're going to get through
this if you stick to the plan we came up
with the night of the Crash Festival.

MARIA
Nice of you to remember.

LIZ
You got tapped by that car, blacked out
and didn't see a thing that happened after.
End of story.

MARIA
The sheriff's smart, Liz. He's going to
find out the truth.
(beat)
And maybe that wouldn't be so bad.
(grasping)
He's Kyle's dad. He said he was here to
protect us.

LIZ
Do you really think we need protection
from Max and Isabel and Michael?

MARIA
(serious now)
Yes. May be. I don't know... I just
wish you'd stop trying to control the wy
I feel. I'm not you, Liz.
(beat)
I have to do what I think is right.

Off Liz as she suddenly realizes that Maria really might tell
Valenti everything.

INT. TOPOLSKY'S COUNSELING OFFICE - DAY

Isabel is sitting across from her now.

TOPOLSKY
How well do you think you know yourself?

ISABEL
Very well.

TOPOLSKY
Well, then, you might be a little surprised
at how your computer profile turned out.
You said in our first meeting that you
wanted to be a fashion model.

ISABEL
You work with what you're given.

TOPOLSKY
That's quite a jet-set career for someone
who...

(READS A PRINOUT0
..."puts family first. Craves security
and stability. Leans towards caregiving
fields."

ISABEL
I've never trusted computers.

TOPOLSKY
Think about who you are, Isabel, and what's
important in your life. I'd hate to see
you lose something that means so much to
you.

Off Isabel, her hard edge penetrated, trying not to show it.

INT. ISABEL'S ROOM - NIGHT

This time she's the one looking at the stars. She's holding
a picture of her family. She takes it out of the frame then
starts to put it inside a backpack when Max startles her.

MAX
Going somewhere?

ISABEL
Only if we have to.

MAX
We can trust her.

ISABEL
She's going to tell Valenti. I saw it in
her dream.
(beat)
We're not like them, Max. We can't trust
anybody but ourselves. We didn't

even tell Mom and Dad --

MAX
To protect them.

ISABEL
Maybe just to protect our selves. Maybe
we're afraid they won't love us anymore.
That they'll think we're freaks. Monsters.
That's how Maria sees us. I saw it in
her dream.

MAX
Dreams aren't real, Isabel.

She looks down at the picture in her hands. Her 15th birthday.
Mom, Dad and Max with their arms around her in front of a
cake.

ISABEL
Yeah. I'm beginning to realize that.

MAX
I have to believe we'll be okay.

ISABEL
Since when do you have so much faith in
the future?

Off Max, not wanting to believe her fears.

INT. CRASHDOWN CAFE - KITCHEN/BACK ROOM - MORNING

Liz prepares a glass of Alka-Seltzer for Maria who looks about
twelve years old in the conservative clothes and hairstyle
that Liz has made her wear.

No make-up either.

LIZ
Okay, one more time.

MARIA
I feel like a nauseated nun.

She drains the glass.

LIZ
Exactly the image we want to portray.
Now, what did you see in the parking lot
that night?

MARIA
Nothing, just headlights.

She burps, hands the glass back to Liz and goes over to the
schedule board as Liz keeps talking.

LIZ
Perfect. And how did that handprint get
on you.

Maria starts to erase her name from the schedule.

MARIA
I don't know, I was unconscious.

LIZ
Right. And... what are you doing?

She writes her name in another slot, changing things around.

MARIA
Answering your stupid questions.

LIZ
You can't just change my schedule around.

MARIA
News flash! People's lives don't always
go according to your schedule.

Patty and I switched shifts in case I end up in prison for
the rest of my life.

Liz grabs the pen and eraser from her, a little more upset
than she ought to be.

LIZ
Then you tell me and I change the schedule.
The schedule is here to keep things under
control. If people just go ahead and
change the schedule whenever they feel
like it, then what's the point of having
a perfect plan to begin with? We might
as well all go through life blindly, never
knowing what's going to come next, just
waiting to have the rug pulled out from
under us any second. One minute we're
fine, and the next minute the whole world
is turned upside down because someone
changed the schedule!
(she starts erasing)
I mean, why bother planning for college
or a career or even a boyfriend, when the
whole thing can disappear just like that?

She looks at the empty board, realizing what she's just done.
Maria is suddenly calm after watching her friend lose it.

MARIA
You're just as scared as I am, aren't
you?

Off Liz, not wanting to admit she's right.

EXT. ROSWELL GAS WORLD - DAY

The Evan's Volvo pulls into the station with DIANE EVANS behind
the wheel.

After a beat, Isabel gets out, carrying the backpack we saw
the night before. She comes around to the driver's window,
leans in and hugs her mother. Diane kisses her on the cheek
then, realizing she got lipstick on her daughter, wipes it
off with her hand. The car pulls away and Isabel watches it
go. She turns around to wipes away the tears in her eyes
only to find Maria standing there. They are both surprised
and uncomfortable sharing this moment.

ISABEL
I hate good-byes.

The Mechanic comes up and hands them their keys.

MECHANIC
(to Maria)
Replaced the headlight and popped out he
fender.
(to Isabel)
Fixed the leak in your radiator hose.
(to both)
You can pay at the cashier, ladies.

Maria looks over at Isabel again. A different Isabel. A
vulnerable Isabel.

Isabel looks back, not challenging any more through fear but
through compassion.

INT. SHERIFF'S STATION - DAY- CLOSE ON A SHERIFF'S EMBLEM

...as Maria walks through the door, not wanting to be there.
She hears a commotion towards the back. She looks over, not
believing things could possibly get any worse as she spots
her mom, AMY DELUCA, talking to Valenti.

She's the late 30s version of Maria, attractive in a funky
way, definitely a non-conformist.

AMY
...what kind of town is this when a kid
can be detained without her mother

even knowing --

VALENTI
Mrs. DeLuca --

AMY
That's Miss DeLuca, single mother and
proud of it so don't go there.

VALENTI
Why do you think I had my office call you
this morning? As a single parent myself,
I believe we should know what goes on
with our children.

AMY
You're a single parent?

VALENTI
Miss DeLuca, I believe something is going
on with Maria and her friends. Do

you know a boy named Max Ev--

MARIA
(interrupting)
Mom!

She turns to find Maria, barely recognizes her.

AMY
Oh my God! What have they done to you?
Is this a prison uniform?

VALENTI
Ma'am, your daughter is here to day as my
guest. If there's anything I can do to
make either of you more comfortable, just
say the word. Now, this shouldn't take
long and I want you both to know that you
can trust me. If any harm were to come
to either one of you ladies, I wouldn't
be doing my job right, now would I?

Again, he can turn on the charm when he wants to. And this
time both DeLuca women are receptive to it.

VALENTI (CONT'D)
Now Maria, why don't you come into my
office while we get your mother some
coffee?

AMY
Herbal tea?

VALENTI
I think we can arrange that.

Amy looks at Maria.

AMY
You'll be okay?

Maria nods. Amy kisses her, then realizing she got lipstick
on her, wipes it off with her hand, just like Diane Evans did
with Isabel. Maria touches her cheek, remembering.

INT. WEST ROSWELL HIGH - LOUNGE AREA - DAY

Someone has hung the "Future Week" banner on the wall. It's
empty, class in session everywhere else, except for Liz, Max
and Michael. Liz looks shaken up.

MICHAEL
What do you mean she was nervous?

LIZ
Just nervous. You know...

MAX
Nervous like just over-excited nervous?

MICHAEL
Or nervouse like she's gonna crack nervous?

Liz finally admits it.

LIZ
I'm not sure what she's going to tell
him. I'm not sure of anything anymore.

Off their anxiety.

INT. VALENTI'S OFFICE - DAY

Maria sits in a chair, squirming as Valenti questions her.

VALENTI
So you were in the parking lot to see
who?

MARIA
Just the healights.

VALENTI
(trying again)
Was there someone waiting for you?

MARIA
I don't know, I was unconscious.

It's not going well for either of them. He tries another
tactic.

VALENTI
Just try to relax. Now we both know why
we're here, so let's stop lying to each
other, okay?

MARIA
Okay.

VALENTI
Who is Max Evans?

MARIA
(beat)
A boy at school.

VALENTI
I want to protect Max. You believe me,
don't you?

She wants to believe him. She almost believes him.

VALENTI
Tell me what you know. And then he and
his sister and his friend will be taken
care of. I promise you that.

Valenti leans in.

VALENTI
He's just a boy?

MARIA
A special... boy.

VALENTI
And what makes him... special?

Maria is on the edge. Valenti moves in closer.

MARIA
Where he comes from...

VALENTI
Where does he come from?

Maria opens her mouth but nothing comes out. Valenti is so
close to her now. He's trying hard to control himself, but
her silence is killing him.

He slams his hand on the table between them.

VALENTI
Don't you understand how dangerous this
is? What they could do to us? We must
keep ourselves safe. Now where does Max
Evans come from?

Maria flinches, looks Valenti in the eye and finally sees the
truth. She finds strenght in his weakness.

MARIA
From a very nice family.

Valenti soaks in his anger, realizing his own fear just cost
him the truth.

INT. WEST ROSWELL HIGH - LOUNGE AREA - DAY

Liz, Max and Michael sit on a bench. The mood is tense.

MICHAEL
Where's Isabel?

MAX
She said she'd meet us here with the care.

MICHAEL
What if something happens before then?

Liz looks at Max.

MAX
Nothing's going to happen.

Topolsky rounds the corner and sees them all.

TOPOLSKY
Nobody interested in class today?

LIZ
Free period.

TOPOLSKY
(not convinced)
The elusive Mr. Guerin. You've missed
three career week appointments.

MICHAEL
They're already holding a spot for me at
the cheese factory.

TOPOLSKY
And Mr. Evans. I though we might make
our sessions more of a permanent thing.
You know, to get you setting some goals.
Maybe even bring your parents in.

MAX
My parents?

TOPOLSKY
You need to become more involved, Max.

MAX
(quickly)
I'm already involved. Didn't I tell you?
I got an after school job.
(beat)
No need to call my parents at all.

TOPOLSKY
(wary)
We'll see.

She leaves. Liz looks at Max, surprised. Michael's anxious.

MICHAEL
Where the hell is Isabel?

EXT. ROAD - DAY - THROUGH A WINDSHIELD

...we see a frustrated Isabel standing next to the Jeep, hood
up, steam rising from the engine. PULL BACK to reveal Maria
watching at a red light.

Isabel looks over and sees her. The light turns green. Maria
makes a decision, pulls up next to her. Isabel tries hard
not to show it but she's scared.

ISABEL
You're alone/

MARIA
Do you see the army coming up behind me?

ISABEL
(relieved)
You lied.

MARIA
Like a rug.

ISABEL
(noticing)
You look awful.

MARIA
"Thanks for saving our butts, Maria."
"You're welcome, Isabel."

A silent beat, Isabel's way of saying it. Maria understands.

ISABEL
Were you scared?

MARIA
Understatement.
(beat)
But that's when I realized what it's like
being you.
(another beat)
So, need a ride?

Isabel takes a beat, then gets in. Maria starts to drive.

MARIA (CONT'D)
Guess you'll need another tow.

Maria smiles, satisfied. Beat.

ISABEL
You just missed the turn.

Maria hits the brakes. Isabel smiles, satisfied. The more
things change..

We watch the Jetta drive down the road.

LIZ'S VOICE
(prelap)
The future was always so clear to me, a
straight path towards my goal.

INT. WEST ROSWELL HIGH - DAY - BACK TO LIZ, MAX AND MICHAEL

..as the BELL RINGS and swarms of kids come out of class.

LIZ'S VOICE
I'd just never counted on there being any
intersections.

They see Maria and Isabel emerging together from the crowd.

LIZ'S VOICE (CONT'D)
I guess that's what makes life more
interesting.

The five of them stand together, no need to explain anything.

LIZ'S VOICE
...keeping yourself open, letting new
people in.

As they walk away, Liz puts her arm around Maria.

LIZ'S VOICE
Changing your mind, not afraid of the
unexpected...

DISSOLVE
TO:

EXT. UFO CENTER - DAY

A tall, gray alien stands outside in the heat, passing out
coupons. It picks up a Big Gulp in it's oversized hands,
tries to drink but the straw won't go into the mask. The hand
grabs the face and pulls up, revealing Max inside, sweltering.
Toots comes out of nowhere.

TOOTS
Never let them see your face!

She goes up to him and grabs the drink away.

TOOTS (CONT'D)
Ruins the mystique.

Max puts the face back on and continues passing out coupons.

LIZ'S VOICE
...then again, there's nothing wrong with
a good plan.

FADE OUT.

THE END






These are different versions of some of the scenes from Monsters



EXT. WEST ROSWELL HIGH - COURTYARD � DAY

Isabel and Max both have bag lunches packed from home. Michael has a can of soda and isn't really interested in anything else but the key he holds in his hand.

MAX
What did you do to Maria?

ISABEL
What did I do?! She's the one who smashed into the Sheriff's car. That girl's an accident waiting to happen.

MAX
Look, Isabel, could you at least make an effort? Think about it. People see movies with aliens. Aliens killing humans, evil aliens, green aliens. If you keep acting that way with Maria, she'll think that's what we are.

Isabel divides their two lunches three ways as she talks.

ISABEL
Exactly. The evil alien think can work for us in this situation. The way to deal with DeLuca is to make her sweat. Keep her in her toes. Aftraid of my shadow, your shadow, Michael's shadow and her own. Right, Michael?

MICHAEL
(taking a bite of his sandwich)
Or we could just kill her.
(off Max's look) Kidding.)

MAX
(to Michael)
Put that key away.

MICHAEL
(putting it in Max's face)
You want to know, don't you? You've got the bug.

Michael waves it in front of Max, taunting him:

Scene continues....





A SERIES OF JUMP CUTS, where several students answer the question "Why don't you start by telling me what your dream job would be?" asked by Topolsky.

ALEX
That's a very interesting question. Do you always ask it first?

ISABEL
SUPERMODEL.

RED HAIRED GIRL
CAN I SAY LAWYER WITHOUT YOU THINKING I'M A BAD PERSON?

MARIA
Like I have any skills...

TOPOLSKY
That's fantastic. Now, what job do you think you'll actually have in ten years?

BACK TO THE JUMP CUTS OF THE KIDS

GENOVEVE
Cheese factory, I guess.

KYLE
Houston Astros, left field. Back up plans are for losers.

ISABEL
I usually get what I want.

RED HAIRED GIRL
Cheese factory, maybe in the office part.

ALEX
Excellent follow-up question, very good technique.

MARIA
We could all be dead in ten years.

HEAVY METAL KID
Video store.
(beat)
No, wait. Cheese factory.

LIZ
Molecular biologist. I'd be too young to be head of research yet, don't you think?

Back to Topolsky. Scene continues...





LIZ AND MARIA IN THE BACK OF THE CRASHDOWN CAFE

Maria goes back into the cafe through the swinging door, but one second later comes back in, crashing into Liz.

MARIA
You take the front. I should really do that can inventory your father --

LIZ
Maria...

MARIA
(beat)
She's out there.

LIZ
Who?

MARIA
Queen Amidala.

Liz looks out, sees Isabel sitting in a booth.

LIZ
Maria, calm down.

Maria takes out a small brown bottle.

MARIA
You see this? Rosemary oil. Very calming. I've been taking a frigging bath in it for a week and all that's happened is that I smell like a leg of a lamb.

LIZ
Listen to me. You've go to control yourself.

MARIA
I'm in control, I'm in control. (then) I'm not. Liz, I have to confide here. I live my life in constant fear of her, moment to moment, knowing each one could be my last. I'm sorry.

LIZ
Look, we're kind of like stuck with each other, the five of us. Can't you just try to be friendly with Isabel? Pretend she's like a cousin that you can't stand but you have to be nice to on the holidays.

Liz stares her down. Maria knows she's right.

MARIA
Sure. Great. Just one big happy family.

She takes a deep breath and heads into....



INT. CRASHDOWN CAFE � KITCHEN/BACK ROOM � MORNING

Liz prepares a glass of Alka-Seltzer for Maria who looks about twelve years old in the conservative clothes and hairstyle that Liz has made her wear. No make-up either.

LIZ
Okay, one more time.

MARIA
I feel like a nauseated nun.

She drains the glass.

LIZ
Exactly the image we want to portray. Here.
Liz hands her some papers.

MARIA
What�s this?

LIZ
Your script. I thought you might need some help with the questions Valenti might ask you.

MARIA
How about, �Is your best friend a couple sandwiches short of a picnic?�

LIZ
Please, just stick to the story we came up with the night of the Crash Festival, and I know you�ll get through this. You got tapped by that car, blacked out and didn�t see a thing that happened after. Now let�s pretend I�m Valenti. What did you see in the parking lot that night?

MARIA
(reading)
Nothing, just headlights.

She burps, hands the glass back to Liz.

LIZ
Perfect. And how did that handprint get on you?

MARIA
(reading)
I don�t know, I was unconscious.

LIZ
Right.

MARIA
Wrong. This is ludicrous. The sheriff�s smart, Liz. He�s going to find out the truth.
(beat)
And maybe that wouldn�t be so bad.
(grasping)
He�s Kyle�s dad. He said he was here to protect us.

LIZ
Do you really think we need protection from Max and Isabel and Michael?

MARIA
(serious now)
Yes. Maybe. I don�t know. . . I just wish you�d stop trying to control the way I feel. I�m not you, Liz.
(beat)
I have to do what I think is right.

Off Liz as she suddenly realizes that Maria migth tell Valenti everything.

MARIA (cont�d)
I have to go.

Maria stops at the schedule board on her way out and erases her name.

LIZ
What are you doing?

She writes her name in another slot, changing things around.

MARIA
Patty and I switched shifts in case I end up in prison for the rest of my life.

Liz grabs the pen and eraser from her, a little more upset than she ought to be.

LIZ
The schedule is here to keep things under control. If people just go around changing the schedule whenever they feel like it, then we�ve lost control.
(she starts erasing)
I mean, we might as well all go through life blindly, never knowing what�s going to come next, just waiting to have the rug pulled out from under us any second. One minute, everything�s fine and the next minute, I�ve put everyone I care about in danger and I can�t do anything to help them and their whole lives could just disappear, just like that, because I couldn�t keep everything under control!

She looks at the empty board, realizing what she�s just done. Maria is suddenly calm after watching her friend lose it.

MARIA
You�re just as scared as I am, aren�t you?

Liz finally realizes it herself.

LIZ
You�re my best friend, Maria. And look what I�ve done to you.
(beat)
You�re right. I can�t control what you do. But if I thought for one second that Isabel or Michael or even Max could hurt you, I would march into Valenti�s office myself and turn them in.
(beat)
They�re not monsters, Maria. They�re kids. And they�re just as scared as we are.

Off Maria, the decision before her.









Leaving Normal Cut Scenes

INT. CRASHDOWN CAFE - NIGHT

LIZ
Oh my God, I forgot to tell you --

Grandma Claudia's coming on Friday Maria and Liz shriek with delight.

MARIA
It's been like a year. It's like I've been going throught withdrawal. I love Grandman Claudia!

Scene continues as aired...

Those Overbearing Orthodontists

INT. CRASHDOWN CAFE - MINUTES LATER

Liz is finishing giving out the plates to a table of ORTHODONTISTS.

She notices MAX enttering by himself, takes a seat.

LIZ
Okay, gentleman: I have one Venus Mealoaf Platter, two Trekkie Specials and Space Fries for the table.

ORTHODONTIST #1
Miss, my colleagues and I were just appreciating your wonderful overbite.

LIZ
Oh, thank you. That's a first actually.

ORTHODONTIST #1
Natural? I mean, did you have to ware braces?

LIZ
Braces? No.

Liz eyes, Max, who is overhearing this, smiling.

ORTHODONTIST #1
My God. Would you mind if we take a look at your bite? For medical purposes.

LIZ
Sure.

...(Skipping part of this scene)...

MAX (CONT'D)
I'll just have an Alien Blast.

LIZ
(to herself)
Me too.

MAX
Excuse me?

LIZ
No, nothing. One Alien Blast. Vanilla or chocolate...

As they continue talking/flirting we:

ANGLE ON ANOTHER TABLE WHERE

FOUR JOCKS members of the football team, eye this encounter with Liz and Max:

TOMMY
(indicating Max)
He's the guy.

The four of them take a look at Max, who is cracking up, at Liz showing her his teeth.

Anger on an Electrical Box

EXT. MICHAEL'S TRAILER - BACKYARD AREA - MOMENTS LATER

MICHAEL
I've seen them giving you those looks. It was them, wasn't it?

MAX
It doesnt' matter who it was.

This answer confirms it for Michael. Michael punches the side of the electrical box, denting it...

MICHAEL
I'm going to kill them.

Scene continues as aired...

Grandma Claudia Arrives

INT. CRASHDOWN CAFE - DAY

Close, between lunch and dinner. Liz combines ketchup bottles, fills up salt and pepper shakers as JEFF PARKER does the books at the table singing along a GRATEFUL DEAD song. Suddenly, Liz looks up, surprised and delighted as CLAUDIA PARKER enters -- vibrant, sophisticated, approchable yet dignified, her bright eyes and wide smile defy her advancing years. She carries a suitcase with her.

...(Skipping part of this scene)...

LIZ
(emabarrased but complimented)
Grandma... Let me help you upstairs with your stuff.

CLAUDIA
Nonsense.
(to Jeff, handing him the suitcase)
Here, Jeffrey.

Jeff smiles, annoyed, as Claudia puts her arm around Liz, and they head toward the back room.

CLAUDIA (CONT'D)
Okay, I've read all your letters over and over, but now that I'm here I want to hear everything in minutia...

As they walk through the swinging doors we:

CUT TO:

INT. CRASHDOWN CAFE - BACK ROOM - BACK STAIRS - SAME

CLAUDIA
We'll be down after Lizzie's caught me up on all the boys who are head over heels in love with her.

LIZ
(self-deprecating)
That should take like three seconds.

NANCY
Don't waste your time, she doesn't talk about that stuff.

CUT TO:

INT. LIZ'S ROOM - LATER

LIZ
But what if it were complicated? Like incredibly complicated.

CLAUDIA
Honey bear, I'm working with very little information here. But I can tell you one thing. If it isn't complicated, he probably isn't a soulmate.

...(Skipping part of this scene)...

MARIA
-- Life form --

LIZ
-- type --

CLAUDIA
Sounds sexy. Dangerous man.

MARIA
Spacey man.

Scene continues as aired...

A Few Good Aliens

INT. UFO CENTER - DAY

Max looks up at her, we see Isabel's reaction, seeing her brother like that.

ISABEL
Oh my God.

MAX
I just did't want you to see me like this.

ISABEL
What happened.

...(Skipping part of this scene)...

MAX
They are friends of Kyle's. I think Kyle must be upset about me and Liz.

ISABEL
Doesn't take a rocket scientist to see that. And you were going to tell me some story. Like I can't handle the truth.

Scene continues as aired.

Men Are From Scream, Women Are From Europe

INT. VIDEO STORE - NIGHT

Kyle and Liz in the video store looking for videos.

KYLE
Okay, have you seen this? This is an amazing movie.

LIZ
Kyle, this is a slasher movie.

KYLE
And...?

LIZ
Ooh, Elizabeth. This is supposed to be great.

KYLE
Elizabeth! Okay, look, we clearly need to find some common ground. English accents give me a migraine. Except Austin Powers.

LIZ
(finding another movie)
Oh my God, Wings of Desire.

KYLE
(looking at the box)
Subtitles? Not gonna happen, Liz.

LIZ
Kyle, this is the most amazing German film. And Grandma Claudia will love it.

KYLE
(appalled)
German? Grandman Claudia? What's happening to movie night?

LIZ
Oh, yeah. My grandma came in a few days early. So I thought she'd watch with us.
(off his look)
Maybe.
(picking up Elizabeth)
Just in case we have time to watch both.

Liz walks up toward the cashier with both movies, Kyle watches concerned. Then he spots another video, grabs it and follows Liz out of frame and we CUT TO:

INT. HOSPITAL - EMERGENCY ROOM - NIGHT

Doors burst open and Paramedics roll Claudia in on a gurney. Liz, Kyle, Jeff and Nancy enter behind them.

LIZ
Oh my God --

KYLE
It'll be okay.

A DOCTOR appears, comes up to the PARAMEDICS.

DOCTOR
What do we got?

Scene continues as aired...

When Things Were Good

INT. VALENTI'S HOUSE - NIGHT

VALENTI
Kyle, is something bugging you?

KYLE
Huh?

VALENTI
I don't know, it seems like something's been eating at you lately.

KYLE
Girl troubles. Nothing you'd understand.

VALENTI
Thanks for the vote of confidence. May be you could try me.

Valenti picks up the remote and turns off the TV.

KYLE
Let me just ask you, with you and Mom, back when things were good. You know, if you can remember that far back. Did you ever feel that you didn't know what was going on with her? You know, in her head?

VALENTI
What do you mean?

KYLE
Like she was just going through the motions. Like there was something else on her mind all the time.

Scene continues as aired...

Strife and Separation

INT. BOYS BATHROOM - DAY

Max enters. Frustrated, he smashes his hand into the side of the stall, and the stall collapses. After a moment, a toilet flushes and Michael emerges from the collapsed stall. Looks at Max.

MICHAEL
Gandhi feeling frustrated?

MAX
Shut up.

MICHAEL
Let me guess. You're in love with a girl and she's with another guy.

Max looks at him, and says nothing.

MICHAEL (CONT'D)
I'm glad we've had this chance to talk.

MAX
You realize you can be really annoying, right?

MICHAEL
Max, something's happening to me. Check this out.

Michael takes an abandoned cup of coffe that's sitting on the windowsill. He puts his hand over it.

MICHAEL
Those guys beating the hell out of you got me angry, and suddenly I'm able to do all this stuff I never could do before. It's like I'm you or something.

Michael turns the cup over. First dry ground coffee comes out. Then sugar. Then he pours the rest out -- water.

MICHAEL
I can separate things.

Max looks at what Michael just did, amazed...

MAX
You're getting good, grasshopper.

MICHAEL
I've got something else that's gonna cheer you up.

INT. HALLWAY - DAY

MAX
What the hell are you doing?

MICHAEL
What am I doing?

MAX
What are you doing?

MICHAEL
I'm helping you out!

MAX
You're helping me out!?

MICHAEL
I'm helping you out!

MAX
No. You're not helping me out.

Scene continues as aired...

The Stress of Being Enemies

INT. LOUNGE AREA - CONTINUOUS

LIZ
Yeah. But it's different. I talked to him before and he had this... tone. Like I was his enemy or something. God, I feel ill.

MARIA
Maybe you're just reading into it. You know, with everything that's been going on.

A Hero in Liz's Eyes

INT. HOSPITAL - WAITING AREA - NIGHT

LIZ
She (Claudia) is so incredible.

JEFF
She definitely knows how to get attention.

LIZ
She wasn't getting attention. She was standing up against injustice.

Jeff looks at Liz, sees in this moment, who Claudia is in her eyes.

JEFF
Yeah, she was.

The "I" in Irrational

INT. HOSPITAL LOBBY - NIGHT

MARIA
Liz, I'm really, really glad that you're being irrational. Because what's happening now is hard. It's really hard. I mean, I don't know what I would do...

LIZ
Right.

They've arrived at Maria's car.

MARIA
Are you sure you don't want me to stay?

LIZ
It's okay. Thanks, Maria.

MARIA
I love you.

LIZ
Yeah, me too.

They hug.

LIZ (CONT'D)
So how'd it go at the cafe tonight?

MARIA
Smooth as silk. Call if you need me.

Liz and Claudia Say Good Bye - (Extended Dialogue)

INT. HOSPITAL ROOM - LATER

LIZ
Grandma. I guess that thing I want to say more than anything to you is just how much you mean to me. That you've shown me that life is this adventure, you know? You've made me feel that I can do anything. That my life can be anything I want it to be. And somehow you've always made me feel like I was special. And I just don't know what I'm going to do without you.

CLAUDIA
I think you'll do just fine
(beat)
And there's something I've been wanting you to know, Liz. When I look at you, so excited about life. So many possiblities. So many wonderful question marks. When I look at you, I see myself. And I want you to know that that's a gift, Liz. That's a gift. I'm taking with me. That I'll always treasure.

Alternate Ending Outside the E.R.

EXT. HOSPITAL - NIGHT

THE MUSIC CONTINUES. Max sits hunched over in front of the huge neon EMERGENCY sign, weakened. Liz emerges from the hospital. She goes to Max. She sits down next to him. After a moment, she just leans in, putting both of her arms around him, hugging him from behind his back. Holding him tight. As the MUSIC CONTINUES we hear: ...









285 South Cut Scenes

FADE IN:

EXT. ROAD/INT. MAX'S JEEP - DAY

Liz finishes the call to her mother.

ISABEL
The perfect Liz Parker? Lying to her mother.

LIZ
At least she knows what species I am.

MAX
Let's just find them and bring them back home and that way no one has to lie about anything, okay?

LIZ
Why would he even take Maria? I mean, they hardly know each other.

MAX
He just needed the car.

Isabel eyes Max, warning.

LIZ
They're at least three hours ahead of us. They could be anywhere, Max.

Max looks at Isabel, wanting to tell Liz. She mouths "No."

MAX
Trust me, we'll find them.

LIZ
(catching on)
What are you not telling me about this? I mean, Michael's the kind of guy that could be involved in some pretty shady things.
(realizing)
Oh, god. 285 South. He's taking her to Mexico, isn't he? She's gonna freak.

MAX
(getting out of hand)
He's not taking her to Mexico. He's...

ISABEL
Max...

LIZ
You guys know exactly where they're going, don't you?

Max nods, unable to lie to her anymore.

Maria and Michael in her car arguing.

MARIA
I knew you had criminal tendencies. You even drive erratically.
MICHAEL
What's wrong with my driving?

MARIA
Changing lanes without an indicator.

MICHAEL
There's no one else on the road!

MARIA
And I already warned you about going over eighty. The engine won't take it.

MICHAEL
Maybe it's just tired of hearing you talk!

EXT. ROAD/INT. MAX'S JEEP - NIGHT

Liz lies in the back with her eyes closed trying to keep warm now that it's nighttime in the desert. Isabel still drives. She and Max talk privately, thinking Liz is asleep.

ISABEL
When I get my hands on Michael, I'm going to wring his neck.

MAX
Unless I beat you to it.

LIZ
How much further is it?

Max looks at her, feels bad she's so miserable.

MAX
A few hours.
(to Isabel)
Let's stop and put the top up. I'm getting kind of cold.

ISABEL
You never get cold.

MAX
Isabel, let's just stop.

ISABEL
I don't want to lose the time.

LIZ
Why don't we do this democratically? I vote to stop.

ISABEL
I vote to keep going.

LIZ/ISABEL
Max?

Off his face, not wanting to be in the middle.

EXT. TRUCK STOP - NIGHT

Typical cowboy trucker convenience store. The jeep is parked out front and Isabel struggles with the canvas top as she tries to put it on. Max tries to help.

MAX
It's easier with two people.

ISABEL
I can do it myself.

Max knows when to back off.

MAX
I'll just go in and find out if anyone's seen Michael and Maria.

He passes Liz who stands in front of a hot beverage vending machine next to the door.

LIZ
Hot chocolate?

MAX
(re: Isabel)
We're going to need more than that to take off the chill.

He goes inside.

Later on...

Max walks up to Liz and Isabel who are putting the top on together.

ISABEL
Something wrong?

MAX
No.
(beat)
Nobody's seen them here.
(re: team work)
Nice job.

ISABEL
Let's go.

EXT. ROAD - NIGHT

The car is lurching and smoking and slowing.

MICHAEL (V.O.)
Damn.
MARIA (V.O.)
Let up on the gas.

MICHAEL (V.O.)
I did.

MARIA (V.O.)
You don't know this car. Did you fiddle with the chokey thing like I told you?

MICHAEL (V.O.)
Yes.
But the car lurches to a pathetic stop.

EXT. ROAD/INT. MAX'S JEEP - NIGHT

Max now drives. Liz sits in front. Isabel in the back, leaning forward between them.
LIZ
Maria's never even been out of Roswell.

ISABEL
Michael won't let anything happen to her.

LIZ
It's getting late.
(beat)
Maybe we should call our parents.

EXT. ROAD/INT. MAX'S JEEP - NIGHT

Max, Isabel and Liz drive, it's late. A bubble gum pop song plays on the radio. Liz is enjoying the song. Isabel looks at Max, Max just shakes his head -- don't start.

LIZ
What?

ISABEL
Nothing. This song's really neat.

LIZ
Oh, I'm sorry if it's not edgy enough. I like it, okay. It's fun.

Isabel mouths "fun." Max looks at Isabel gives her a look...The song ends, or is cut off by a DJ.









Blood Brother Cut Scenes

Avoiding Maria

INT. WEST ROSWELL HIGH - HALLWAY -DAY

MARIA's racing for class, obviously late. The halls are empty.
She tears around a corner and straight into MICHAEL. He
steadies her, then quickly drops his hands away from her like
a hot potato.

MARIA
Hey.

MICHAEL
Hey.

They stare, uncertain. Michael breaks off the look. Begins to
look anywhere except at her.

MICHAEL
(cont'd)
Better go. I'll be late for class.

He starts to move off.

MARIA
Late for class? When did you ever care
if you were late for class? You're
avoiding me.

MICHAEL
I'm not avoiding you.

MARIA
Oh, the classic signs; not looking me
in the eye, lying about motives...

MICHAEL
Fine. If it'll shut you up. I'm avoiding
you. Watch me continue that thought.

Michael starts to move off. Maria grabs his arm. Her phone
starts to RING.

MARIA
No way. I've been stressing about this
all week. We're dealing with this right
now.

Her phone continues to RING.


A Date to Ditch an FBI Agent

EXT. ROSWELL - MAIN DRAG - DAY

Liz and Max take a casual stroll down the street near the
Crashdown. At least that's what it looks like.

MAX
Just look in the window, like you're
shopping.

They stop in front of a needlepoint store, feign interest.

LIZ
Maybe I could take this up. They say
it's very relaxing.

Scene continues as aired...



Stakeout or Makeout?

MARIA'S JETTA

...which is down the block and across the street from Agent
Moss' motel room.

MARIA
How long is this going to last? Us
waiting here like this?

MICHAEL
Why, got a date?

MARIA
Maybe.
(beat)
Do you care?

Scene continues as aired...


Michael and Maria Do Mannix

INT. TUMBLEWEED MOTEL ROOM 104 - DAY

MICHAEL
(pissed again))
Just keep looking out the window, would
you?

He crossess over to the desk, shuffles throught the requisite
motel stuff. Finds an empty pad. Takes a pencil and begins to
trace over the top sheet.

MARIA
Clever. You must get "Mannix" on TV
Land, too.

MICHAEL
It's not like I do this all the time!

MARIA
Any baby-sitter worth her salt know to
check out the garbage can first. Always
revealing.

Scene continues as aired...









Heat Wave Cut Scenes

TEASER

FADE IN:

INT. CRASHDOWN CAFE - NIGHT

Maria sweeps up, it's late. It's a hot, lazy night, her face gleams with a thin layer of perspiration. Sex in the air. Ketchup bottles sit on top of other ketchup bottles combining them. Even the ketchup dripping from one bottle to the one below feels sexual.

INT. LIZ'S HOUSE - LIVING ROOM - SAME

Liz does homework, fans herself. Her eyes focus on a box of chocolate donuts.

INT. CRASHDOWN CAFE - SAME

Maria sweeps under the tables. She feels someone's eyes on her. Turns toward the doorway. Her eyes register surprise. She just stands there, considering what to do, and we CUT TO:

INT. LIZ'S HOUSE - KITCHEN - SAME

A chocolate donut sits on a plate. Liz opens the fridge reaches for the milk. She pours the milk into a glass. There's only an ounce left. What to do?

EXT. CRASHDOWN CAFE - AT FRONT DOOR - (STAGE) NIGHT

Michael stands outside looking in. Maria just stares at him for a long beat, then slowly walks toward the door, reaches out for her hand to the door lock, hesitates a final moment, then clicks the tumbler open, and we CUT TO:

INT. CRASHDOWN CAFE - BACK ROOM - SAME

Liz walks downstairs holding her empty container of milk.

INT. CRASHDOWN CAFE - NIGHT

Michael and Maria go at it. A cake plate is inadvertently pushed off the counter, crashing on the floor. They fall out of frame behind the counter onto the floor.

INT. CRASHDOWN CAFE - BACK ROOM

Liz is about to walk through the swinging door but stops, hearing a noise from within. Liz stands there, unsure for a moment. Is this a robbery? Then she slowly, carefully, pushes the door open a few inches:

POV: Through swinging door. Michael and Maria's intertwined legs.

ON LIZ -- what's going on? Is this an attack, a rape, or just sex? Unsure, Liz is about to go in when the phone rings. Maria rises. Liz ducks. The top buttons of Maria's uniform are undone. Liz watches through a tiny crack in the door as Maria gets the phone.

MARIA
Crashdown. Closed!

She hangs up the phone. Liz watches, riveted, as Michael rises from behind the counter. He grabs her, kisses her.

We REVERSE ON LIZ, watching, disbelieving.

FADE OUT.

END OF TEASER







INT. WEST ROSWELL HIGH - HALLWAY - DAY

Liz walks with Maria.

LIZ
So, sorry I stuck you with closing up by yourself last night.

MARIA
Oh, that's okay. You needed to cram.

LIZ
Right. So, how'd it go?

MARIA
Fine.

LIZ
Good. So, anything unusual happen?

MARIA
Unusual?

LIZ
You know, anything you wanted to tell me about.

MARIA
Not really. Oh yeah, there was one thing. I broke a cake plate. Sorry.

LIZ
That's okay.

Maria looks up at her, there's an uncomfortable moment. They continue to walk. They get to a staircase. Maria stops. They look at each other.

LIZ
What?

MARIA
I, uh, I don't feel like going to the caf today.

LIZ
Oh, okay.

MARIA
I, yeah, I just ...
(Liz looks at her)
...there's this whole...appointment I have.

LIZ
Appointment?

MARIA
Yeah. Peer Counseling Club. You know, them. They love to get together and express themselves. Anyway, wow, look at the time. See ya, Liz.

LIZ
(Knowing something's up)
Have fun.

MARIA
Oh, I will.
(caught)
I mean, gotta love that peer counseling group.

Maria escapes up the stairs. Liz watches her go, thoughtful.

INT. HALLWAY - ERASER ROOM - DAY

We MOVE IN on the Eraser Room door.

MARIA (O.S.)
Oh my God...oh my God...

INT. ERASER ROOM - SAME

Michael and Maria passionately kiss, grope, feel...

MARIA
(heavy breathing)
This is...so...uncharacteristic.

MICHAEL
Shhhh.

MARIA
Right.

They continue to kiss. He presses her up against the wall.







INT. GIRLS' ROOM

MARIA
(prelap with the Max and Michael restroom scene)
I'm having his love child.

LIZ
Maria, please be serious, all right? I saw you.

MARIA
There's no reason to make a big deal over it.

LIZ
I'm not making a big deal over it. It's just...I'm just trying to protect you here.

MARIA
(a bit annoyed)
Protect me?

LIZ
I mean, how could this ever be? It can't.
(holding up textbook)
I can show you the statistics on interspicies reproduction. They're not pretty.

MARIA
Liz, we're not planning a family, we were just sucking face.

LIZ
I'm sure you're saying to yourself, "Hey, go for it." I mean, sure, you see everyone else going for it. Suddenly, there's a heat wave and the whole world is going for it.







INT. ERASER ROOM - SAME

Maria and Michael are embraced in a heated, passionet kiss. Maria pulls away.

MICHAEL
What?

MARIA
Shouldn't we talk or something?

MICHAEL
About what?

MARIA
I don't know. I mean, you just grabbed me and pulled me in here. Shouldn't we at least exchange pleasantries?

MICHAEL
How you doin'?

MARIA
Not bad. You? Michael shrugs. Maria looks at him, what else is there to say? Finally:
MARIA (CONT'D)
Okay.

She moves to him and they kiss again.



MICHAEL
She wants us to go to this party together.

MAX
The thing at the old soap factory?

MICHAEL
Right, like suddenly the eraser room isn�t enough. I can�t let this become a public thing. She should know that.

Max looks at him, nods. Michael continues, takes a chance.

MICHAEL (cont�d)
And I�ve just had this weird feeling all week. I don�t know, like I�m going to hurt her or something. That just being who I am is going to hurt her. She�s this innocent girl, she�s so� her eyes, her lips are so� And I�m just this� visitor, you know? I can never be what she needs.

MAX
Maybe you�re wrong. Maybe you can be.

MICHAEL
I don�t think so, Maximilian.

Michael smiles, then walks out, leaving Max thoughtful









Into the Woods Cut Scenes

Everybody's Going Into The Woods

INT. CRASHDOWN CAFE - CONTINUOUS

LIZ
(laughing)
Gotcha.

She takes off the ring to his relief.

INT. CRASHDOWN CAFE - CONTINUOUS

JEFF
Oh. Is that how you feel?

LIZ
No, no... look, it's just... I'd hate to
get you stuck out there without any of
the other dads you know.

Jeff realizes.

JEFF
Right. That would be terrible.

LIZ
So then we won't. Go.

JEFF
Whatever you --

Their conversation is disrupted as

INT. UFO CENTER - MILTON'S OFFICE - DAY

MAX
Who reported it?

MILTON
Some hiker named Buz. I can just imagine
what he was in the woods for.

MAX
(relieved)
So, it could just be a hoax.

Scene continues as aired.


So, That's What Happened to Old Johnny Bloch


INT. VALENTI'S OFFICE - DAY

ROCKY
Listen, I ain't one of those nuts that
sees spacemen comin' out from behind every
tree.

VALENTI
Of course not.

ROCKY
You know what they do to those people?
They lock 'em up tight in the loony bin.
That's what happened to Jonathan Bloch
over in Fayeville. Family drove him there
one Sunday and he ain't never been back.

VALENTI
(slightly defensive)
I'm sure the family had their reasons.
But you don't have to worry about that.
Rocky. Can I call you Rocky?

Scene continues as aired.


Absent Fathers and Aqua Bras

INT. WEST ROSWELL HIGH - HALLWAY - DAY

We follow Maria down the hall from the shoulders up. As she
passes, some guys turn around to stare. One whistles. She
smiles, loving it.

We then follow her from behind as she spots Liz at her locker
and approaches. Liz looks up and sees her. A strange look
crossess her face.

We finally see all of Maria, who suddenly has an extremely
full figure.

MARIA
Like it? It's an aqua bra. All the fun
of implants without the invasive surgery
part.

LIZ
You have officially lost it.

Liz starts walking. Maria falls in.

MARIA
I have found it, babe. Three phone numbers
and it's only second period.

A CUTE GUY passess by.

CUTE GUY
Hey, Maria.

MARIA
Hey, Neil.
(point proven; to Liz)
What'd I tell you? Whole new life. Wanna
try it on?

But Liz's attention is drawn across the hall where she watches
Max sneak into the Eraser Room.

(JUMP)

MARIA
(shaking her head)
Like a puppy in heat. He's my next
project.

VICKY, Kyle's hot girlfriend walks by, noticing.

VICKY
(conspiratorially)
Hey, is that the new twelve ounce? 'Cause
the eight ounce just isn't doing it for
me anymore.

Off Maria's look. Meanwhile we pick up...

THE ERASER ROOM

ISABEL
But we don't know how many guys he's got
patrolling, and if anyone saw us it would
just make him more curious.

MAX
(looking at the flyer)
Not if we're supposed to be there.

MICHAEL
Last time I checked, none of us were
deputies.

MAX
What do you do in Frazier Woods?
(jump)

MAX
There's only on problem.

ISABEL
(understanding)
Dad.

MICHAEL
What does he have to do with it?

MAX
It's a fathers' weekend. Get to know your
dad kind of thing.

MICHAEL
Guess that lets me out.

Off Max and Isabel knowing how he must be feeling.

INT. LIZ'S ROOM - NIGHT

JEFF
I know I have to learn to respect your
privacy --

LIZ
(laughing)
Really, it's no big deal. Did you need
something?

JEFF
Well, um, I was just wondering... how's
that girl, you know, the one who brought
her blow dryer on the camping trip that
year?

LIZ
Pam Lewis?

JEFF
Right. Pam. Is she going this year?

LIZ
(feeling bad)
I don't really hang out with her much
anymore.

JEFF
Rigth. Listen, about the camping weekend.
I don't care if I don't know the other
dads. I just think we should go. Take
advantage of having time together. I
wouldn't miss that for anything.

Scene continues as aired.


Maria Takes It One Day At A Time

ACT TWO

INT. CRASHDOWN CAFE - BACK ROOM - DAY

Maria now plays with the aqua bra under her uniform, as Liz
comes down the stairs carrying two sleeping bags.

MARIA
Running away from home?

LIZ
Oh God, Maria, I beg you for mercy. Please
go with me.

MARIA
My idea of the great outdoors is rolling
the windows down in my car on the way to
the mall. Besides, this is my first wild
weekend.

LIZ
You don't even have any plans.

MARIA
Exactly. I take what life throws at me,
hopefully some very cute guys, and make
the most of it.

LIZ
You can't leave me alone with my dad for
forty eight hours.

MARIA
I love your dad. You love your dad.

Scene continues as aired.


The Valentis: Semi-Functional Men


INT. VALENTI'S OFFICE - DAY

KYLE
(mock proud)
That's my dad.

HANSON
He as tough at home as he is here at the
office?

KYLE
It's a free-for-all at our house, Deputy.
But when we get out in the wilderness,
two men against nature, we actually have
a semi-functional relationship.

Valenti bursts in, carrying a newspaper.

Scene continues as aired.


River Dog's Our Daddy

INT. CRASHDOWN CAFE - DAY

MICHEAL
Our father, Maxwell.

ISABEL
(gentle dismissal)
Michael.. that's impossible.

MICHAEL
Why, because you and Max already have
one?

Scene continues as aired.


Living The Life of Liz


LIZ, ALEX AND MARIA

Liz looks over and sure enough Max is looking at her from the
cashier's counter. Michael stands next to him. Liz heads
over there. Maria follows.

MARIA
Am I going to have to do an intevention?
You have got to let him know you are over
him. That your life is full of excitment.
(beat)
Lie if you have to. It's for your own
good.

MAX
Hey.

LIZ
Hey.
(taking the check)
That'll be ten sixty-two.

MAX
Haven't seen you in a couple days.

Scene continues as aired.


Some Pre-Boarding Activities

EXT. WEST ROSWELL HIGH - PARKING LOT - DAY

BEHIND THE BUS

LIZ
Maria, having a life is one thing, but
having a fantasy life is a little
troubling, don't you think?

MARIA
Okay. We'll just hide.

KYLE
Coach Klay. I hear we're bunking
together this trip.

KYLE
Pinch me. Or don't, better yet.

VALENTI'S VOICE
Thanks, Coach. I'll take it from here.
(jump)

JEFF
You're lucky you've got a boy.
(sees Chuck)
Hey, never seen you guys on this trip
before.

CHUCK
I'm a little surprised myself. Hello,
Sheriff.

VALENTI
This weekend I'm just Jim Scene continues
as aired.

LIZ AND MARIA

hide behind Jeff as much as possible.

LIZ
Maria, this is so stupid. We're on the
same bus.

COACH KLAY
Hausman. Kalinowski. Parker.

Scene continues as aired.


The Power of Max Evans and Fraizer Woods

ACT THREE

FADE IN:

EXT. FRAZIER WOODS - CAMPGROUND - DAY

MAX
That's exactly why we have to do this,
Isabel. If the sighting is real and
there's something out there, then we have
to find it first. We have no choice.

They arrive at their site where Philip is unpacking a tent.

PHILIP
Give me a hand here, will you, Max? Looks
like this support rod snapped.

Max walks over and assesses the damage.

MAX
You and Isabel hold it up. I can fix it.

Philip and Isabel stretch the tent out while Max takes the
rod underneath. Out of sight, he holds the two broken pieces
in his hand and uses his powers to mold them back into one.

MAX (CONT'D)
(standing)
Good as new.

Meanwhile....

EXT. FRAZIER WOODS - CAMPGROUND - NIGHT

JEFF
What're you hiding, Max? What kind of
power do you got over these poor guys
that makes them do exactly what you want
them to do?

By the way Jeff looks at him, Max realizes this is not just
about poker, either.

MAX
No secrets.
(beat)
Just luck of the draw, I guess.

JEFF
Call. Full house, jacks and eights.
(jump)

ALEX AND ISABEL

ALEX
So, I was thinking, since we missed our
date tonight, I ghought maybe we could
do somthing next Friday.

ISABEL
Our what?

ALEX
Our date.

Isabel looks at him, Alex looks at her realizing.

ALEX (CONT'D)
Not a date. That's probably the wrong --

Scene continues as aired.


Some Soul Searching at the Water Spigot


CLOSE ON A SLEEPING BAG

...as Chuck rolls it out.

CHUCK
(satisfied)
Extra long.

Everyone prepares for bed.

LIZ

...holds her travel bag while she brushes her teeth at
the water spigot.

MAX
Always be prepared.

She spits and looks up to see him standing there with his
toothbrush, too.

MAX
I think you and I are the only ones who
brought them.

LIZ
(wiping her mouth)
Well, contrary to what some people think,
gum is not a dental hygiene alternative.
(jump)

LIZ (CONT'D)
Max, I know you think we shouldn't be
together, and maybe you're right. But
you made me a part of this. And I care
about what's out there just as much as
you do.

As she leaves him standing there alone we see that Maria has
watched their whole interaction from across the campsite.
She looks at Liz, worried for her friend.


A '70s Father Talks to his '90s Daughter

EXT. FRAZIER WOODS - CAMPGROUND - NIGHT

INSIDE

LIZ
You thought I was taking drugs.

JEFF
I didn't know what to think. You're so...
grown up all of a sudden and all these
new friends are always around and...
(beat)
I just don't feel like I'm part of your
life anymore, that's all.

She realizes this is hard for him.

LIZ
I understand. But there's just a lot of
stuff going on with me right now.

Nothing bad or anything. It's just stuff I can't share.

JEFF
I lived through the Seventies, honey.
There's nothing I haven't heard.

LIZ
I guess it's just that whole privacy thing,
Dad.

JEFF
(beat)
Sure.

LIZ
(takes her sleeping bag)
I think I'm just gonna go outside and
sleep with Maria.

JEFF
It's kind of cold...

LIZ
(about more than the cold)
I'll be okay.

JEFF
(understanding)
I know you will.


The Long Walk

EXT. FRAZIER WOODS - NIGHT

LIZ
Don't leave me out, Max. Please.

Max is put on the spot.

MAX
It's a long walk. It might take all night.

LIZ
I can handle it.

ISABEL
This is a big mistake, Max. Letting them
all in was just a big...


Michael Talks to The Dog

ACT FOUR

EXT. FRAZIER WOODS - FIRE ROAD - NIGHT

MAX
We're getting closer.

MARIA
Just to let know know, it's officially
freezing out here.

EXT. FRAZIER WOODS - SOMEWHERE ELSE - NIGHT

River Dog and Michael walk.

RIVER DOG
Rest. The walk is long.

MICHAEL
I'm not tired.

River Dog looks at him, smiles.

MICHAEL (CONT'D)
What?

RIVER DOG
You remind me of him. Angry. Alone.
Always think something he never quite
said.

Michael looks at him, knowing who he's talking about.

MICHAEL
What did you call him? Nasedo?
(River Dog nods)
You knew him pretty well, huh?

RIVER DOG
Before he left the reservation.

MICHAEL
(beat, then)
Did he really leave?

RIVER DOG
I told your friend. He left forty years
ago.

MICHAEL
Yeah, right.

River Dog looks at Michael, not sure what he meant by that.

MICHAEL
Let's just keep going.


Into The Woods

EXT. FIRE ROAD - NIGHT

A sheriff's car pulls up to Maria, Liz and two deputies.
Jeff and Philip run out of the car.

JEFF
Oh my God, you two scared us to death!

LIZ
(hiding concern)
Kyle?

JEFF
He's missing too.

Liz looks at Maria. Jeff watches this, noticing, wondering
what is going on and we CUT TO:

EXT. FRAZIER WOODS - CAVE ENTRANCE - NIGHT

Max and Isabel run along throught the trees approaching the
cave.

MAX
(re: flashlight)
Turn it off.
(jump)

MICHAEL
They came on their own. I didn't know.

RIVER DOG
What have you found?

ISABEL
We just got here.

RIVER DOG
This is where it will be.

Scene continues as aired.









The Convention Cut Scenes

A Mecca of Factual Information

ANGLE ON: LIZ, TAKING AN ORDER.

Something catches her eye in the side alley outside the cafe.

EXT. CRASHDOWN CAFE - SIDE ALLEY - MOMENTS LATER

Liz bends over, sees something.

LIZ
Oh my God.

REVEAL she is looking at a TINY WHITE PUPPY, cowering in the
corner.

LIZ
Hey, you okay? Awww...
(picks him up)
It's okay. It's all right.
(baby talk)
What a cutie.

She lifts the puppy into her arms, falling in love we cut to:

INT. UFO CENTER - DAY

The UFO Convention is in full swing. ISABEL waits impatiently
as MICHAEL speaks to a MAN with a name tag that reads, "Expert
Panelist."

EP
Mr. Guerin, I conclude that, yes, these
aliens exist. Yes, they are among us
today. And yes, they are heatless,
brutal killers who must be stopped at
any cost.

Isabel pulls Michael away.

MICHAEL
Hey, I wasn't finished talking to him.

ISABEL
I want to get the hell out of here.
This whole thing is psychologically
damaging. We're like Black people
attending a KKK rally.

MICHAEL
Max got us three day passes and I plan
on using every bit of those three days
to find out as much information as I
can on that sighting.

ISABEL
Oh, yeah. This is a real mecca for
factual information.

Scene continues as aired...


Dealing with Max's Energy Source


INT. UFO CENTER - STORAGE ROOM

MAX
How'd you do it with Maria?

MICHAEL
That's too personal.

MAX
No, I mean, how did you stop? I can't
stop thinking about Liz. Every time I
see her, she just starts going into
slow motion. It's like an episode of
Felicity. How do I shut it off?

MICHAEL
Well, Maxwell, you've gotta be strong.
You can't let yourself be led around
by your...
(re: a light box on
his alien suit)
... energy source. It wasn't easy for
me either. What you gotta do is throw
yourself into something else. Anything
else. Something to get your mind off
her. For me it was TV game shows.

MAX
(thoughtful)
Throw myself into something.

CUT TO:

INT. UFO CENTER - MOMENTS LATER

MILTON
...We're not just a joke anymore, Evans.

MAX
That's great, Milton.

MILTON
Problem is, I'm overwhelmed here. We've
got three times the amount of people
we've expected. The press is buzzing
around like flies. These celebrities
are making my life a living hell. It's
no wonder my sciatic nerve is acting
up.(I think)

MAX
(a thought occurs)
Well, maybe I can take on more.

Scene continues as aired...


Michael and Maria Lay The Smackdown On Each Other


AMY'S BOOTH

MARIA tries to hang a large BANNER at the most garish of all
booths, Amy DeLuca's alien CHACKA booth. But she's having
problems because the banner is almost larger than her. Maria
looks around for help. Sees AMY flirting with Valenti. Rolls
her eyes. She sees Michael across the way.

MARIA
Guerin. Michael. Over here. Now.

Michael, wishing he had any excuse to avoid her but doesn't,
approaches. Maria shoves the banner into his hand.

MARIA
(pointing to a corner)
Hold it up over there.

MICHAEL
Since when have I become your personal
handmaiden?

MARIA
Yeah, you wish. Hold it higher.

He moves it, but glares. Maria positions the banner, staples
it. The banner unfolds. It reads in large letters: Amy DeLuca
Presents: ALIEN SMACKDOWN. The Alienator vs. The Rock. A
CARTOON of "The Rock" stomping on an alien is below the words.
Michael just stares at it.

MICHAEL
The Alienator?

MARIA
Yeah, the Alienator. You got a problem
with it?

Scene continues as aired.









Independence Day Cut Scenes

Full episode of Independence Day so you can see all the differences

TEASER

FADE IN:

INT. WEST ROSWELL HIGH - HALLWAY - DAY

LIZ and MARIA walk and talk.

LIZ
I don't how to describe it, Maria.
When Max kissed me. It was like so,
like... like I saw things. Like I feel
the universe and...

MARIA
Okay. Stop.

LIZ
What?

MARIA
I know just what you need. Open your
mouth.

LIZ
What?

MARIA
Just do it.

Liz does, tentatively. Maria takes a small brown bottle with
a dropper an drops some into Liz's mouth.

LIZ
Eww! What is that?

MARIA
Rescue Remedy.

LIZ
What?

MARIA
I got it at my mom's shop. It's an
herbal remedy that shocks the body
back into reality when the mind goes
into overload. Veterinarians use it
calm wild animals.

LIZ
Great.

MARIA
Here. Next time you find yourself
spiraling out of control -- four drops
under the tongue.
(noticing Max approach)
Now would be a good time.

MAX arrives. Maria exits, leaves Liz holding the bottle.

MAX
Hi. What's that?

LIZ
Oh, nothing.
(tucking it away)
Max, the other night, when you kissed
me...

Before they can go on, ISABEL arrives.

ISABEL
Something's up with Michael. He's acting
weird.

MAX
Weirder than usual?

ISABEL
I saw him down at the end of the hall
and he totally went the other way.

MAX
Maybe he didn't see you.

ISABEL
It's like he's avoiding me. He
practically ran into the bathroom. Go
in there, Max. Find out what's going
on.

MAX
Right.
(to Liz)
I'll see you later. Sorry.

Liz looks disappointed, as Max heads toward the bathroom.

INT. BOYS BATHROOM - DAY

MICHAEL washes his face carefully, sighs. He turns off the
water and looks at himself in the mirror. Max enters.

MAX
Michael--

Michael moves to the towel dispenser and dries off, purposely
turning away from Max. Max notices.

MAX (cont'd)
Are you all right?

MICHAEL
I'm fine.

MAX
Isabel thought--

MICHAEL
Can't a guy get any privacy?

The BELL RINGS. The other guys head off to class. The
bathroom's empty now. Michael bolts for a stall and locks the
door.

MAX
I'll wait.

MICHAEL
Max, get outta here.

MAX
You can't stay in there all day.

MICHAEL
I'm serious, man. Leave me alone. I'll
be out in a sec.

Max goes and pulls the bathroom door open. Then lets it swing
closed. MICHAEL comes out of the stall . Stops when he sees
Max still there. He's been tricked.

Max sees something that shocks him -- Michael has a black
eye. A beat as Max stares and Michael turns away in shame.

FADE OUT.

END OF TEASER


ACT ONE

FADE IN:

EXT. DESERT - DAY

Max and Michael sit next to each other. No one says anything
for a beat. How do you talk about this? Then:

MAX
How did it happen?

MICHAEL
(simply)
He was drunk.

MAX
Hank.

Michael's silence is the answer.

MAX (cont'd)
Has it happened before?

MICHAEL
Couple times. This was the worst. Never
left a mark.

MAX
Michael...

MICHAEL
Don't. I don't want you to feel sorry
for me. I don't want anyone to feel
sorry for me.

MAX
Everyone's going to ask.

MICHAEL
Not if it's gone.
(then)
Fix it.
(thrown away)
I tried. I...

Max is torn. He wants to help Michael, but is this the way?
Helping him hide it?

MAX
And what about the next time?

MICHAEL
There won't be a next one.

MAX
You don't have to protect him, Michael.
He's not even your real father.

MICHAEL
No kidding.

Max reaches out and gently touches Michael's face. The bruise
disappears. An awkward and touching moment between them.

MICHAEL (cont'd)
I don't want anyone to know about this.

MAX
(torn)
Michael, you can't just--

MICHAEL (cont'd)
This is between you and me, Maxwell.
You and me.

Off Max, conflicted.

INT. CRASHDOWN CAFE - COUNTER - DAY

Maria and Liz working behind the counter.

MARIA
You and me, Liz. We've got to stick
together, hold our ground. No matter
how they try and use their charm,
they're like a drug and we've got to
just say no.

LIZ
I don't know if I can. I try to stay
away, but I can't help it. Look--

She indicates the door where Max and Isabel have just entered
and slid into a booth.

LIZ (cont'd)
He obviously feels the same way.

Maria watches Liz's eyes glaze over as she gazes at the object
of her obsession. Max gives her a longing gaze. Maria picks
up a frying pan that's laying nearby and waves it in front of
Liz's face.

MARIA
Haven't you seen that commercial? The
one where the girl takes the frying
pan and smashes up the whole kitchen?
(then)
"This is your brain on Max"

Liz takes a deep breath, when MAY comes in and goes to Maria.
We can barely see May because she's hidden behind a stack of
about five pie boxes. It's quite a balancing act as she carries
them to the counter.

AMY
Hi girls. Here're the pies.

LIZ
Wow, that's a lot of pie.

Amy starts unloading them to Liz and Maria.

AMY
I've got chocolate, banana, rhubarb,
strawberry and coconut--

VALENTI (O.S.)
Did I hear someone say coconut?

Maria rolls her eyes, then shoots a look to Liz.

VALENTI (cont'd)
How'd you know that was my favorite?

MARIA
(moving away)
Excuse me while I throw up.

She moves over to Liz.

MARIA (cont'd)
(whispers)
He's trying to get to us through my
mom.

LIZ
How do you know he's not just interested
in your mom?

MARIA
I don't know which would be worse.

Amy turns to Valenti now.

AMY
It was the last one. Sorry.

VALENTI
That's a shame, 'cause it looks awful
good, Amy. And so do you.

He's being very sweet, but still, she resists.

AMY
Well, see now, I'd make you a whole
new one, but it would probably go to
waste since on our last two outings,
you never made it to desert.

VALENTI
Ah, work called.

AMY
But the thing is, when I make pie, I
expect it to get eaten.

VALENTI
What about tonight then? You make it,
I'll eat it.

AMY
Fine. Just remember, Jim, there's a
three strikes law now in this state.

He smiles. It's a date. Off Amy, ambivalent.

INT. CRASHDOWN CAFE - BOOTH - CONTINUOUS

Max and Isabel. She's seeing red.

ISABEL
Are you saying what I think you're
saying?

She starts to stand, filled with fury. Max pulls her back
down.

MAX
Calm down, Isabel. I promised him I
wouldn't tell anyone.

ISABEL
Then why did you tell me?

MAX
I'm worried about him. I don't know
what to do.

ISABEL
You can't tell me something like this,
Max and expect me to do nothing.

Michael enters. He crosses Amy on the way out.

AMY
My favorite little wrestler.

She pinches his cheek. He's embarrassed. She exits. He slides
in next to Isabel.

MICHAEL
Hey.

MAX
Hey.

ISABEL
Hey.

A beat. Michael takes one look at Isabel's face.

MICHAEL
(to Max)
You told her.

He stands up. Walks out. Max shoots Isabel a look. She shakes
her head. They both take off after Michael.

EXT. ROSWELL - STREET - DAY

Max and Isabel catch up with Michael.

ISABEL
What're you going to do, pretend it
didn't happen? You have to do something.

MICHAEL
Like what?

ISABEL
Tell someone, report him.

MICHAEL
To who? Valenti? Oh, yeah, that's smart--

ISABEL
Max told me this has happened before.

Michael throws Max a disbelieving look. Max is now caught in
the middle.

MAX
(to Michael)
Sorry. I had to tell her.

MICHAEL
Everyone's got problems. If it wasn't
this, it'd be something else. I'm a
big boy, I can handle it.

ISABEL
Maybe you could talk to my dad. He's a
lawyer. He could help. He told me he
once had this case where he helped a
minor get permission to live on his
own.

MICHAEL
Forget it, Iz, the last thing we need
is for me to go to court and bring all
this attention on us.

ISABEL
If he hurts you again, Michael--

MICHAEL
He won't.

ISABEL
You could use your powers.

MICHAEL
Believe me, I had to stop myself last
time. You know I can't control my powers
like you and Max. Especially in that
state of mind. If I did anything, I'd
probably kill him. And that wouldn't
solve anything.

ISABEL
All I know is, you can't go back there.
Stay with us.

Michael looks at her surprised. So does Max.

ISABEL (cont'd)
At least until Hank calms down.

MICHAEL
Fine, if it'll shut you up.

Michael walks off. Max turns to Isabel, quietly"

MAX
How are you going to explain this to
Mom and Dad?

ISABEL
Don't worry, I'll think of something.

MAX
Are you sure this is a good idea?

ISABEL
Yeah. In fact, I think it could really
be good for Michael to part of the
family.

Off Max's concern.

INT. EVANS' HOUSE - KITCHEN - NIGHT

A meat and potatoes dinner's laid out and the table. Michael
digs in, helping himself to a large serving, not noticing
PHILIP's disapproving glance.

ISABEL
(sweet but firm)
We usually wait until everyone gets to
the table.

MICHAEL
Why?

ISABEL
It's polite.

Michael shrugs and waits. He doesn't mean to be rude, but
he's from a world of microwave dinners on the couch in front
of the TV. DIANE comes over from the stove, carrying a
casserole dish.

DIANE
Who wants some of famous green bean
delight?

MAX
Mmm. Sounds good.

MICHAEL
I don't see any beans in there.

DIANE
They're chopped up in the cream of
mushroom soup.

MICHAEL
I dunno. Looks kinda...
(makes a face)

ISABEL
It's delicious. Just try some.

MICHAEL
No thanks.

An awkward beat. max shoots a look at Isabel. Diane blows
past it.

DIANE
So, Michael, how long is your father
away?

ISABEL
(jumping in)
A couple of days.

PHILIP
What does your dad do again, Michael?

MICHAEL
He's not my dad. He's my foster father.

ISABEL
He's in... marketing.

PHILIP
Isabel, are you going to let Michael
answer a question?

DIANE
You know, in all the years you've been
friends with Max and Isabel, we've
never met him.

MICHAEL
No great loss.

The parents trade looks. Isabel tries to steer the conversation
toward the situation with Hank. Max just observes.

ISABEL
What Michael means is--

PHILIP
Why don't you let Michael tell us what
he means?

All eyes on Michael. Isabel drills into him, willing to speak
up. She's trying too hard to make this work.

MICHAEL
I didn't mean anything.

A long, tense beat. Then:

ISABEL
(brightly)
What's for desert?

CLOSE ON A COCONUT PIE

with two pieces missing.

INT. DELUCA HOUSE - KITCHEN - NIGHT

The pie's by itself at the table. The door opens. Liz and
Maria enter, still in their uniforms from the Crashdown, but
they're carrying books.

LIZ
I'm so wiped out, I don't know how
much studying I'm good for tonight.

MARIA
Here. Sugar rush. Works for me.

They each grab a fork and take a bite. Maria bites from the
half-eaten piece that's on what she assumes is her mom's plate.

Liz suddenly stops chewing. She points silently to something
on the counter. A second piece of pie.

Maria's just sitting down. Instantly, she pops back up. She
reaches down behind her and pulls up something she's just sat
on. A cowboy hat. She GASPS.

The girls lock eyes. They hear SMOOCHING.

AMY (O.S.)
Jim... Oh, Jim...

VALENTI (O.S.)
Amy... Mmmm...

To say they've lost their appetite is an understatement.
They're horrified.

Maria spits out her pie and starts silently freaking out.
She's mouthing "Oh, my God!" over and over. They both motion
their finger in their mouth like throwing up. Maria goes over
and SLAMS THE DOOR.

MARIA
Mommmmm! I'm hommmme!

Amy walks in, fixing her hair, like a teenager caught in the
act.

AMY
Hi, girls. What're you doing home so
early?

MARIA
It's ten thirty.

AMY
I guess I lost track of time.
(quickly)
Pie?

MARIA/LIZ
No!

MARIA
We're going to my room to study. And
you should probably get to bed. Big
day tomorrow.

AMY
I will.

MARIA
Soon.

AMY
Very.

MARIA
Alone.

AMY
Of course! I'll be right up.

Valenti comes sauntering out of the den. Amy's totally
embarrassed.

AMY (cont'd)
-- Just as soon as I say good night to
the sheriff.

VALENTI
Evenin', girls.

LIZ
Hi.

Liz notices a lipstick mark on his face. She motions to him
to subtly wipe his cheek. He does.

AMY
Anyway, Sheriff, thanks for stopping
by and... signing the permits for the
next convention.

VALENTI
Sure, anytime.

MARIA
Mom, that's a year from now.

AMY
Never hurts to be prepared.

The four of them stare at each other. It couldn't be more
awkward. Maria holds the crushed hat out to Valenti.

MARIA
Don't forget your hat.

INT. THE EVANS' HOUSE - KITCHEN - NIGHT

The dinner plates have been replaced by a Monopoly board.

ISABEL
I'll take another hotel for Park Place.

PHILIP
You're killing us here, Isabel.

MAX
She's ruthless. You've got to watch
her.

Michael watches the family play. He's in the game yet somehow
there's a cone of silence around him. He sees Philip ruffle
Max's hair and Diane and Isabel laughing together. He years
for it, yet can't feel part of it. He's miserable.

DIANE
Your turn, Michael.

Michael rolls the dice and lands on Philip's property.

PHILIP
Let's see. Atlantic Avenue with four
houses. That's nine hundred seventy-
five you owe.

Michael counts his money. Embarrassed about how little he
has.

MICHAEL
How about I catch you next time?

PHILIP
Catch me next time?

MAX
Michael, we usually pay on arrival.

ISABEL
I'll lend it to him.

She starts to dole out some cash to Michael.

PHILIP
No lending except for the bank. But
he's got no houses to mortgage...

MICHAEL
Wow, rub it in.

PHILIP
I'm not trying to rub it in, Michael...

MICHAEL
I just don't see what's the big deal.
Why can't she just lend me the money?

PHILIP
The deal is, in this house, we play by
the rules.

Philip's not trying to be mean. But he's felt awkward around
Michael all night and he's making a point. Michael overreacts.

MICHAEL
I don't want to play anymore.

He gets up and leaves. Isabel follows.

EXT. EVANS' HOUSE - BACK PORCH - NIGHT

Isabel catches Michael at the door.

ISABEL
You didn't have to be rude to my dad.

MICHAEL
Rude? He was sticking it to me for no
reason.

ISABEL
It was a game, Michael.

MICHAEL
He doesn't like me.

ISABEL
He doesn't know you.

MICHAEL
I don't want him to know me.

ISABEL
He can help you, Michael. But you've
got to speak up. You've got to tell
the truth--

MICHAEL
And what? Be a poster child for domestic
abuse? Not gonna happen.

ISABEL
You could've at last made an effort.
You've been acting like a jerk all
night.

MICHAEL
I didn't ask to come here.

ISABEL
I thought you'd be grateful.

MICHAEL
What do you want, Isabel? An award?

ISABEL
I just wanted to show you a normal
night at home.

MICHAEL
Why? So I could see what I was missing?

ISABEL
No...

MICHAEL
I don't need your parents. And I don't
you to be my parent. You can't take
care of me anymore.

ISABEL
I'm not trying to care of you.

MICHAEL
Yes, you are.

ISABEL
Michael, you have to do something here.
Don't just pretend this didn't happen...
Please.

Michael holds her look for a beat, and just walks away. Max,
having listened to their conversation, joins Isabel outside.

MAX
He's not easy, Isabel. Never has been.

ISABEL
I know that.

MAX
You can't push him like that.

ISABEL
He's acting like a child.

MAX
Maybe you need to stop treating him
like one. You can't make up for in one
night what he's never had for a
lifetime.

ISABEL
I'm scared for him, Max. If Hank did
it before, he'll do it again. And
Michael's wound so tight...

MAX
He'll be all right.

ISABEL
Like an idiot, I told him to use his
powers. So what if Hank tries it again?
I have a bad feeling about this.

Off Isabel, we...

FADE OUT.

END OF ACT ONE


ACT TWO

FADE IN:

INT. MICHAEL'S TRAILER - LIVING ROOM - NIGHT

HANK'S parked in front of the TV with a bottle when Michael
enters.

HANK
Where the hell you been?

Michael doesn't answer. He goes straight into--

INT. MICHAEL'S ROOM - CONTINUOUS

Michael SLAMS the door. Lays on the bed. Stares at the ceiling.
The fury, the loneliness welling up in him.

INT. MARIA'S ROOM - NIGHT

Maria's in a robe from the shower, combing her wet hair, when
Amy comes in.

AMY
Maria... I need some.. space. I can't
feel like you're judging me all the
time.

MARIA
I'm just trying to look out for you,
Mom.

AMY
What are you so worried about?

MARIA
I just don't want you to rush into
anything.

AMY
Anything? Or Jim Valenti?

MARIA
I don't trust him. I mean, I don't
want him to use you.

AMY
What would he be using me for?

Of course, Maria can't really answer that question. That he
wants to get close to her for information on the kids.

MARIA
Well... You know, for the same thing
all men want.

AMY
Look, Maria, there's like three single
guys in Roswell. And two of them are
at the Desert Inn Retirement Community.
Jim's a nice guy, with a good job.
He's responsible, he's fun.

MARIA
He's a cop, Mom. And you're a hippie.

AMY
Opposites attract.

MARIA
He's got a lot of baggage, Mom.

AMY
So he was married once. Who hasn't
been these days?

MARIA
But he's that type. That... tough guy
who can't open up. Who can't show
emotion or admit they need you. They're
the most dangerous of all.

Amy realizes Maria might be talking about her own situation.

AMY
Don't worry, honey. Michael will come
around.

MARIA
What do you mean? I wasn't talking
about Michael.

AMY
Sure you weren't.

MARIA
I meant hypothetically.

AMY
Whatever, honey.

MARIA
I'm just saying, you have to go slow.
If you get... physical with a guy right
away, after they get what they want,
they disappear.

AMY
I hope you're not speaking from
experience.

MARIA
Just yours.

A beat. Amy realizes her past dating history has influenced
her daughter.

INT. MICHAEL'S TRAILER - MICHAEL'S ROOM - NIGHT

Michael has just dozed off with the lights on when his door
opens. He bolts up. Hank's there with a basket full of clothes.

HANK
Told you to do the wash.

MICHAEL
I'll do it later.

HANK
Today.

MICHAEL
I'm not your maid.

HANK
You're right. You're good for nothing.
(raising his voice)
Do the wash. Now.

MICHAEL
I said--

But Hank h as walked over and dumped the dirty clothes right
on top of him.

HANK
I heard what you said, you little puke.
But since this is my house, I don't
gotta listen.

Hanks staggers toward the living room.

HANK (cont'd)
No wonder your parents left you in the
desert. Who'd want ya?

This hits Michael where it hurts.

MICHAEL
Yeah? Who're you, father of the year?

HANK
Get outta my face--

MICHAEL
A man who spends my lunch money on --
(loud for the benefit
of the trailer park)
-- a subscription to Juggs Magazine!

Michael walks past Hank. Hank follows him angrily into...

INT. MICHAEL'S TRAILER - LIVING ROOM - CONTINUOS

...where they find Max and Isabel, who have just entered the
trailer.

MICHAEL
What're you doing here?

ISABEL
We heard some yelling.

MAX
What's going on?

MICHAEL
Get out.

But as Hank turns around, he notices Isabel.

HANK
Well, hel-lo, dolly.

MICHAEL
Shut up, Hank.

Hank turns and raises a hand to Michael. Michael flinches. So
do Isabel and Max. Hanks lowers his hand.

HANK
(then to Isabel)
Wanna have a drink with me?

MAX
She doesn't want a drink.

HANK
Who the hell are you? Her lawyer?

MICHAEL
Leaven them alone, Hank.

But he's pouring her a drink. Half of it's spilling on the
floor.

HANK
I asked her a question. I'm waiting
for her to answer.

He puts a sloppy arm around Isabel. Disgusted, she takes the
drink.

ISABEL
Here's your answer.

She throws it in his face.

ISABEL (cont'd)
If you ever touch him again, I'll kill
you.

Hank stands there, stunned, alcohol dripping off him. He
suddenly reaches for something.

HANK
You're gonna kill me?

He pulls out an old deer rifle.

HANK (cont'd)
Get the hell out of this house!

Max, heroically steps in front of Isabel to keep her from
harm's way.

MAX
Okay, we'll go. Just take it easy.

Hank cocks the rifle threateningly. Michael approaches Hank,
intense, losing control. He puts his hand out toward Hank,
clenches his eyes tight. Suddenly a window blows out, a chair
jerks backward and smashes into the wall, a drawer flies out
of the cabinet. Max and Isabel look at Michael, who obviously
didn't intend to do these things.

HANK
What the hell...?

Without making physical contact, the gun jumps in Hank's hands,
spinning him into the wall. The rifle discharges from the
impact. Hank is dumbstruck.

HANK
You little bastard! You're a freak! I
always knew it. You're a freak!

MAX
Let's go, Michael!

ISABEL
Michael! We gotta get out of here!

Michael just stands there, stunned, his eyes locked on Hank.

HANK
Yeah, go on. Get outta here.

Michael, still looking at Hank, backs slowly out the door,
joining Max and Isabel. On Hank, he doesn't know what hit
him.

EXT. MICHAEL'S TRAILER - NIGHT

The three of them back at the jeep.

MICHAEL
Congratulations, you just made it worse.
Now he knows.

ISABEL
Michael, he was so drunk he doesn't
know what he saw and he sure as hell
won't remember it in the morning.

MICHAEL
I can't go back there now.

ISABEL
Good.

MICHAEL
You don't understand, do you? I know
Hank's a jerk, but that's what I've
got. It's all I've got. And now you
guys screwed that up for good.

MAX
Just come back with us for now.

MICHAEL
For how long? Two days? Three days?
And then what?

MAX
We'll figure something out.

MICHAEL
Max, I don't belong there. I don't
belong anywhere.

ISABEL
We understand why you--

MICHAEL
You don't understand.

ISABEL
So you got a raw deal, Michael. No
one's saying you didn't. But you've
got a chance to change it. Would it
kill you to ask for help, just once in
your life?

MICHAEL
Yes.

He starts away.

MAX
Where are you going?

MICHAEL
It doesn't matter.

ISABEL
Michael, wait!

Michael takes off running. Isabel starts to go after him, but
Max stops her. He knows it's no good.

INT. MARIA'S ROOM - NIGHT

It's raining; Maria's still gazing out the window. A short
distance away, she notices someone sitting on the fence in
the distance. Through the mist, she can make out the figure:
Michael. She takes a beat, steels herself against him. Grabs
the bottle of Rescue Remedy from her night stand drawer and
puts four drops under tongue. Oh, hell, she swings the whole
thing. She opens the window.

MARIA
What are you doing out here?

Michael sees her, walks up to the window.

MARIA (cont'd)
No. You're not coming in.

He says nothing.

MARIA (cont'd)
I know why you're here. I know your
little plan. I know what you want. But
it's not going to work this time,
mister. No matter what you say, my
answer is no. No, no, no, no, no.

A beat. Still he says nothing. His eyes are strangely soft.
Vulnerable.

INSIDE MARIA'S ROOM - A MOMENT LATER

Michael's inside with her.

MARIA
God, you're gonna catch pneumonia.
Here, get outta that shirt and let's
dry you off.

She starts unbuttoning his shirt. He lets her, still not saying
a word. She pulls it off him.

MARIA (cont'd)
You're shivering.

She takes the towel and wipes him down. Wipes his face, his
arms, his chest, his shoulders. She looks again. His face is
still wet. It's not rain.

MARIA (cont'd)
You're...

She's stunned. Has never seen Michael this open. She touches
his face with her hand now. Wipes his tears.

MARIA (cont'd)
Come here...

She leads him to the bed. Lays him down. She lays down behind
him. Curls up like two spoons. She pets his head.

MARIA (cont'd)
Sshh. It's okay. You don't have to
tell me. It's okay.

On Michael, letting himself be comforted.

FADE OUT.

END OF ACT TWO


ACT THREE

FADE IN:

INT. MARIA'S ROOM - MORNING

Amy raps lightly on the door before swinging it open to find
every mother's nightmare: Her darling daughter curled up asleep
with a boy.

AMY
OH MY GOD!!!

The two teens leap awake. Maria rushes to the door to push
Amy out.

MARIA
Mom!! Give us a minute!

But Amy bolts toward Michael sweeping her arms like she's
chasing a Rottweiler off the Christmas dinner table.

AMY
Getoutgetoutgetout!!!!

Michael grabs his clothes and walks out the door.

MICHAEL
Jeez. Estrogen central here.

MARIA
Michael, wait! Mom!

AMY
Kitchen, now!

INT. DELUCA HOUSE - KITCHEN - DAY

Maria's at the kitchen table while her mom paces back and
forth.

AMY
My baby girl is having sex!

MARIA
Mom. I'm not having sex.

AMY
Then what exactly did you do?

MARIA
Nothing. We just slept.

AMY
I know that one. I've used that one.

MARIA
You act like I have no self-control at
all.

AMY
Yes, well, teenagers are known for
self-control. Especially teenage boys.

MARIA
Michael's not like that. Well, I mean
sometimes he is--

AMY
What!?

MARIA
But last night. He was upset about
something. I don't know what. Sex was
the last thing on his mind.

AMY
(sarcastic)
Thank you, there is a God.

MARIA
That's why I let him stay.

AMY
I can't believe you had a boy spending
the night here. I mean, what were you
thinking, young lady? And besides, why
is it okay for you and not for me?

MARIA
I'm sixteen!

AMY
Exactly! And no sixteen-year old
daughter of mine is going to have sleep-
overs with boys! Got that?

MARIA
What. Ever.

AMY
No. Not whatever. Maria, as you pointed
out so subtly last night, my history
with men has pretty much been a train
wreck. I don't want you to make those
same mistakes. I can't go back and
change my life, but I'll be damned if
I watch yours go the same way. I love
you too much.

Off Maria, processing this very real heartfelt moment from
her Mom.

INT. WEST ROSWELL HIGH - CLASSROOM - DAY

Max and Michael are sitting in class when a DEPUTY comes to
the door. He WHISPERS something to th teacher and then nods
for Michael to come out. Michael shoots a look to Max and
then follows the deputy out. He's humiliated in front of his
classmates. Feels like everyone is watching him. Everyone
knows.

Off Max, very concerned--

INT. VALENTI'S OFFICE - DAY

Valenti questions Michael.

VALENTI
Neighbors heard gunshots.

MICHAEL
I don't know anything about it.

VALENTI
But you were there last night?

MICHAEL
I came home to get my jacket, then I
went out again.

VALENTI
What time was it?

MICHAEL
Does it matter?

VALENTI
You were the last one to see him.

MICHAEL
What do you mean, the last one to see
him?

VALENTI
I called the plant. He never showed up
for work.

MICHAEL
Maybe he's passed out somewhere. I
don't keep track of him.

VALENTI
Neighbors also heard an argument. Then
later, more sounds. Screaming. Crying.
Torturous sounds. Like an animal.
Almost... inhuman.

MICHAEL
What are you talking about?

VALENTI
Where were you, son?

MICHAEL
Out. Just out.

Off Valenti, not knowing what to think.

INT. CRASHDOWN CAFE - DAY

LIZ
What you said made sense, you know?
And I've been sticking to it. You'd be
really proud of me. Just last night, I
said it very clearly. No. Of course
Max wasn't there, but the next time he
is, I'll be ready for him.
(beat)
Are you even listening?

MARIA
What? Oh, I'm sorry.

LIZ
What's going on with you?

Isabel enters.

ISABEL
Have you guys seen Michael?

MARIA
Maybe.

ISABEL
Come on, Maria, you gotta tell me.
It's really important.

MARIA
If it's that important, then you tell
me. I'm worried about him, too.

ISABEL
I can't.

MARIA
Ditto.

ISABEL
All right. Michael's in trouble.

LIZ
What kind of trouble?

ISABEL
It's Hank. He's been... hurting him.
Max and I were trying to help.

Maria's face falls. Liz is stunned as well.

MARIA
Oh, God, Isabel.

LIZ
I didn't know. Max didn't tell me.

ISABEL
Michael made us promise not to.

MARIA
He was with me. Last night. All right.

Liz can't believe it.

LIZ
He spent the night? What happened to
"no?"

MARIA
(to Isabel)
He never told me what was wrong. All
we did was sleep. In the morning, my
mom walked in on us and he took off.
And I haven't seen him since.

Now the tow of them are bonded in a purpose. Max enters. He
wash some news of his own to share:

MAX
Valenti's got Michael.

ISABEL
What? Why?

MAX
Hank's gone and they think he had
something to do with it.

ISABEL
But he was with Maria all night. She
can vouch for him.

MARIA
Valenti'll never believe me.

LIZ
(a knowing look)
But he will believe your mom.

Off everyone's looks. What are we gonna do now?

INT. DELUCA HOUSE - KITCHEN - DAY

Maria waits nervously as the kitchen door opens and Amy enters.
She takes a deep breath, then:

MARIA
So you know the guy I slept-but-didn't-
sleep with?

AMY
Unfortunately, the shock has indelibly
printed his face onto my brain.

MARIA
Well, he's in jail.

AMY
This just gets batter and better,
doesn't it?

MARIA
Mom, he didn't do anything. Your friend,
Sheriff Valenti, is holding him because
he can't explain his whereabouts last
night. Personally I think it's very
noble that he protected my dignity.

AMY
How very Bonnie and Clyde of him.

MARIA
Anyway, since the sheriff seems to
like you so much, maybe you could tell
him where Michael really was.

AMY
(non-committal)
I could.

MARIA
Mom. I know maybe he didn't make the
best impression this morning.

AMY
This isn't about him, Maria. It's about
you and me, I have to be able to trust
you.

MARIA
Then trust me, Mom. I swear to you.
He's a good guy. And he's in trouble.
I wouldn't ask you otherwise.

Off Amy trying to decide.

INT. VALENTI'S OFFICE - DAY

Amy and Maria wait in silence. After a beat, Valenti comes
in, followed by Michael. Michael sees who's there to get him.
He holds Maria's gaze for a beat with a look that says, "I
didn't do it." Maria just smiles back. She knows. Amy watches
it all, not happy with any of it.

AMY
Wait for me outside.

Michael and Maria exit. Amy turns back to Valenti.

AMY
I appreciate you doing this.

VALENTI
No problem.

AMY
I'm telling the truth, Jim.

VALENTI
You say he was at your house, he was
at your house.

AMY
But you wouldn't have believed Maria.

VALENTI
She's sixteen. She'll say anything to
protect her boyfriend.

AMY
She's not just a sixteen-year old.
She's my daughter.

VALENTI
I'm just doing my job.

AMY
Your job seems to come between us a
lot.

VALENTI
Where is this coming from, Amy?

AMY
I like you, Jim. You know I do. But,
right now, Maria's at that stage. You
know the one.

VALENTI
That I do.

AMY
I gotta keep on eye on things. I can't
get... distracted. And you, well...
(a smile, a compliment)
...you are a distraction.

VALENTI
Then don't give me up.

A lingering beat. On Valenti, watching her go.

EXT. DESERT - DAY

Michael's there with Isabel and Max.

MAX
So everything's okay?

MICHAEL
Oh, yeah, great.

ISABEL
Michael, listen, about Hank being
missing. You didn't... do anything to
him. Did you?

MICHAEL
(hurt)
No. You thought I...?

ISABEL
No.

MAX
What'd Valenti say?

MICHAEL
He said he was going to find me a new
foster situation. Not home, even.
Situation.

MAX
I'm sure he meant--

MICHAEL
No matter what home I get, it's a
substitute for the real one.

Michael looks toward the sky.

MICHAEL (cont'd)
I'm not going back into the system.
I'm outta here.

MAX
You can't just run away.

MICHAEL
Watch me. If you didn't want me to
leave, you should have thought about
that back when I asked you to keep
your mouth shut. Because I knew this
would happen. And this is exactly what
I didn't want.

ISABEL
And where are you supposed to go?

MICHAEL
Anywhere but here. It's fine if you
guys want to say in your nice little
world pot roast and Monopoly. It's
clear you're not interested in finding
our real home. I'm going to find Nasedo.
He's my family.

ISABEL
And what are we?

Michael looks away. Both Isabel and Max can't help but feel
hurt.

ISABEL (cont'd)
You know what I think? I think it's
time to put up or shut up.

MICHAEL
Very poetic, Isabel.

ISABEL
You sound like you're five years old.
You've got to grow up, Michael. Stop
blaming everyone else.

MICHAEL
(turns to Max)
Is that what you think, too, Maxwell?

MAX
I think it's not safe out there. I
think Nasedo is dangerous, Michael.

MICHAEL
You don't know that.

MAX
You hear what Hubble said. He's a
killer. A shape-shifter. And he's out
there. He could be anyone. We need to
stick together now more than ever.

MICHAEL
You're wrong, Max.

Michael goes. This time, Max starts after him and it's Isabel
who stops Max and lets him go.

ISABEL
Run away, Michael, that's what you do
best.

On Max and Isabel as they watch Michael go.

EXT. DESERT - NIGHT (FORMERLY SCENE 22)

We get the feeling Michael has been wandering for a while,
facing a dark night of the soul. And now he's ended up here.

Feeling completely abandoned, he raises his arms out and SCRAMS
at the sky.

MICHAEL
Where are you?! Why did you leave me
here? Why?

Just then, wind begins to howl. A sign from above? Or another
rejection? Michael turns his face to the sky, forever
searching.

FADE OUT.

END OF ACT THREE


ACT FOUR

FADE IN:

EXT. LIZ'S ROOFTOP - NIGHT

Liz is looking through her telescope. Max pokes his head up
from the fire escape.

MAX
Liz, sorry to...

LIZ
(turns to see him)
That's okay.

MAX
I know we've been needing to talk.

He's standing close to Liz. She's yearning for him, but puts
it aside. She knows what he needs now.

LIZ
There's more important things right
now. I heard about Michael. Are you
okay?

MAX
Um, no...

Beat, she looks at him, realizing the pain he's in.

MAX (cont'd)
I've never seen him so upset. I have
this weird feeling that he's going to
just leave without saying goodbye.

LIZ
Maybe because if he did, he couldn't
go through with it.

MAX
I can't loose him.

She just nods for him to go on.

MAX (cont'd)
I just kept thinking how after we were
separated in the desert, when we where
kids, Isabel and I didn't see him for
three years. I used to stand at the
fence on the playground and every year,
every class, every kid I met, I looked
to see if it was him.
(beat)
Then one day, I heard this shouting,
it was a terrible fight, two boys going
at it. The teachers had to pull them
apart. And one them just wouldn't stop,
just kept going... he was so angry.
His eyes were full of fire and rage
and somehow I knew--

LIZ
It was him.

MAX
And I always wondered, how a nine-year-
old could that much anger. And it's
still there. It's so much a part of
who he is.

Liz is drawn to Max. She feels his pain, wants to hold him.
Wants to kiss it all away. To feel the intensity. But their
passion again must wait.

LIZ
Maybe that's what he's so afraid of.
Who he would be without that anger?

As Max considers this--

INT. ISABEL'S ROOM - NIGHT

Isabel sits cross-legged on her bed, holding the colored pieces
of quartz rock. Max enters.

ISABEL
(annoyed)
I thought I locked that door.

MAX
Um, yeah, you did.

He sees Isabel sits with a small, open box with several items
around her: the drawing of th cave painting, the pendant, and
other items, including a couple of the files, Michael's
drawings of the dome and a copy of Atherton's book.

MAX (cont'd)
What're you doing?

ISABEL
See this? This is everything. This is
all we know about who we are.
(holding up one of the
quartz rocks)
These are the stones River Dog gave us
at the cave when Michael was sick. The
only thing we have the place we came
from. IT was the first time I realized
there really was a home out there
somewhere. A real place.
(heated)
But they're worthless. They don't mean
anything. Not without Michael.

Max puts his hand on her shoulder. And we CUT TO:

INT. MICHAEL'S TRAILER - MICHAEL'S ROOM - NIGHT

Michael is stuffing his belongings in a duffel bag when Max
enters. Michael finishes. Clinches the bag closed.

MAX
Packing?

MICHAEL
I guess you could call it that.
Everything I have fits in this bag.

MAX
You have me. You have Isabel.

MICHAEL
Max, say goodbye.

MAX
I can't.

MICHAEL
I'll keep in touch.

MAX
Not good enough.

MICHAEL
It'll have to be. Say goodbye.

MAX
I can't.

MICHAEL
Max--

MAX
I know what you're scared of.

MICHAEL
No, you don't.

MAX
You keep telling me how lucky I am. To
have a great home, great parents. But
in one way, it's harder for me. Because
when I screw up, I don't have any
excuses. But you, you can do and say
anything you want. Because you have
Hank. And you can blame it on that.
What happens without him?
(beat)
It'll all be on you, that's what.

MICHAEL
Yeah, well... leave it to me to still
screw it up.

MAX
It's okay, Michael. Because if you do,
we'll all still be there for you.

A long beat. Michael looks away.

MAX (cont'd)
Maybe you have to start thinking about
someone other than yourself, Michael.
The three of us belong together. There's
a reason we're together. We're a family.
So go if you want. But no matter where
or how far, we'll always be connected.

Michael can't look at Max, obviously affected. But he lifts
his duffel bag anyway. Max looks at him, pained. Realizing
Michael is leaving anyway, Max hands him a small package.

MAX (cont'd)
Isabel and I wanted you to have this.
It doesn't mean anything without you.

Michael looks at Max, takes the box. And we DISSOLVE TO:

EXT. ROSWELL HIGHWAY - NIGHT

Michael's sitting on the side of the road. A car approaches,
he sticks out hs thumb, the cars blows by him. Everything he
wanted, he's got. He's alone. A man on his own. Be careful
what you wish for. Michael looks at the package Max gave him,
thinks for a second, then opens it. His eyes register surprise,
seeing the quarts rocks, the cave painting, the pendant, etc.

Just as Michael is most torn about what to do, HEADLIGHTS
flood his face. A truck appears. Slows down. Stops. It's an
old pick-up loaded with cola bottles.

DRIVER
Where're you headed?

On Michael, what's he going to do? With the sound of a
thunderclap we CUT TO:

INT. TRUCK - NIGHT (POOR MAN'S PROCESS)

They drive in silence for a beat. The duffel bag on the seat
between them. Michael's staring out the window. The wipers
slap back and forth. The driver's a jaded salesman.

DRIVER
What a joke.

MICHAEL
Huh?

DRIVER
Roswell. Wouldn't bother, but it's on
my southwest route. Sell a lot of soda
in these tourist towns.

MICHAEL
Yeah. Right.

DRIVER
I don't know why they hell they came
here. Aliens, I guess.
(snorts)
Ain't not aliens in that town. Let me
ask you if were an alien, and you could
go anywhere in the world, would you
pick Roswell?

He laughs at this own cleverness. Michael takes one of the
rocks out of the package, holds it in his hand.

DRIVER
Trust me, ain't nothin' in that town.

But there's something there for Michael. And as he holds the
rock, he gets unexpected FLASHES, then we see:

A SERIES OF IMAGES

From previous episodes. Moments of Michael connected with
Isabel and Max. [Note: Revision page will follow if we need
to shoot new material for these flashes]

Michael snaps back into reality. Tries to shake it off. But
there's no denying the connection. He's felt them too, in the
deepest part of his soul. On Michael, thoughtful, we DISSOLVE
TO:

INT. EVANS' HOUSE - KITCHEN - MORNING

Start on a fork mixing eggs in a bowl. Several ingredients
are added to the mix: milk, cheese, finally, Tabasco sauce.
We pan up to reveal Michael cooking breakfast. Isabel appears
in the doorway, sees him. She's stunned, moved.

ISABEL
What're you doing?

MICHAEL
Making an omelette, what does it look
like?

ISABEL
I didn't know you cooked?

MICHAEL
Lots of things you don't know about
me.

ISABEL
Oh, yeah? Surprise me.

Philip comes down the stairs.

MICHAEL
Good morning.

PHILIP
(wary)
Hello, Michael.

MICHAEL
I'd thought I'd make breakfast. For
the family.

Philip takes a beat. He know it's Michael's way of apologizing.
Diane enters.

DIANE
What's going on?

PHILIP
Michael's made breakfast for everyone.

DIANE
How very nice.

MICHAEL
There's another thing, sir.

PHILIP
Yes.

Max arrives into the kitchen, wondering what's going on.

MICHAEL
I was wondering if you could... help
me.

A long pause. All eyes are on Michael.

MICHAEL (cont'd)
I'd like to find a way, you know, to
live on my own. I heard it can be done.

Isabel and Max trade a look. They can't believe it.

PHILIP
It's complicated. You'd have to file
for a petition for emancipation, go
before a judge.

MICHAEL
I'll do whatever it takes. I mean,
I've thought about it and I want to...
You know, take control of things. And
I'm ready to do it, so...

Another beat. Now all eyes on Philip.

PHILIP
Come by my office this afternoon. We'll
talk. I'd like to know more about your
situation.

MICHAEL
(thank you)
This afternoon.

Just then there's a KNOCK at the door. Philip goes over to
answer it. Isabel and Diane take a seat. Max comes over to
Michael.

MAX
Can I give you a hand?

MICHAEL
Yeah. You can do the bacon.

Max and Michael share a smile.

EXT. EVANS' HOUSE - BACK PORCH - SAME MOMENT

Philip opens the door to find Valenti. They talk privately.

VALENTI
Mr. Evans.

PHILIP
(surprised to see him))
Hello Sheriff.

VALENTI
I understand Michael Guerin is here.

PHILIP
Yes, he is.

VALENTI
I've got to take him to meet with Social
Services.

PHILIP
He's not going to be needing that. I'm
going to help him look into
emancipation.

VALENTI
Mind if I ask why?

PHILIP
Who's going to want a 16-year-old?
They can't even find homes for infants.

VALENTI
Mr. Evans, this is a potentially serious
situation you're getting involved in.
His father's clothes were found this
morning in the south desert. Shredded.
Still no sign of him. Looking more and
more like foul play.

PHILIP
I can't see that the boy could have
had anything to do with that.

VALENTI
I gotta warn you about getting involved
with this kid. You don't know him.
He's a trouble-maker.

PHILIP
My children trust him. That's good
enough for me.

VALENTI
Well then, I guess you're on your own.

Valenti's surprised at Philip standing up for Michael. He has
no choice than to accept it.

Philip closes the door and turns around. Sees Max has turned
and overheard. Knows his son saw him stand up for Michael.
Hold on the look between father and son.

INT. JUDGE'S CHAMBERS - DAY

A tough-looking JUDGE sits at a conference table. Michael and
Philip sit with him at the table was Max and Isabel watch
quietly.

JUDGE
Does the minor Michael Guerin pledge
to take charge of his life as an adult
from here forward?

MICHAEL
I do, Your Honor.

JUDGE
Do you understand that you will be
soley responsible for your financial,
educational, an medical decisions as
they may arise?

MICHAEL
I do, sir.

JUDGE
I might add, young man, that you are
fortunate enough to have these folks
here today that have an interest in
your future and have shone the
confidence in your that is reflected
in my decision. I hope you can live up
to that faith.

MICHAEL
I'll try, sir.

JUDGE
I hereby grant your petition for
emancipation.

Michael looks back at Max and Isabel. This isn't going to be
easy, but it's Independence Day and he's tready to try.

INT. MICHAEL'S NEW APARTMENT - DAY

A modest studio apartment, just around the corner from the
Crashdown. Mostly empty, a tattered couch, a few empty milk
crates, stuff that's been abandoned from the previous tenant.

Michael sits on the couch next to his duffel bag that he still
hasn't unpacked. It's hard to look lost in a 10 x 12 room,
but somehow he manages. A long beat. Then:

The door flings open. Max, Liz, Maria, Isabel.

GANG
Surprise!

MICHAEL
Whoa! What're you guys doin' here?

But they rush past him, carrying mop, bucket, cleaning
supplies, pizza boxes and other stuff.

ISABEL
We're here to help clean up.

MICHAEL
I kinda like it the way it is.

MARIA
Michael, some of these stains are
neither animal, vegetable, or mineral.

MAX
This place is so cool.

MICHAEL
Two-fifty a month cool. Man, it was
great of your dad to help with the
deposit, but I gotta get a J-O-B.

Max and Liz exchange a look.

LIZ
I heard that you made a pretty mean
breakfast the other day. There just
might be something for you at the
Crashdown.

MICHAEL
Wow
(then, quickly))
Wait. Does that mean she's going to be
my boss?

He means Maria.

LIZ
(smiling wickedly)
She's the manager.

As they all crack up at the irony, suddenly, there's a tiny
sound. Almost like a meow. It is a meow.

MICHAEL
(suspiciously)
What's that?

MARIA
That is ...Sigourney.

She pulls our of her back pack a little tabby kitten.

MICHAEL
Ha. Funny.

LIZ
She was an orphan.

MICHAEL
The lease said no pets.

MARIA
What's one more secret.

Off all of them as they did into the pizza, laughing. Michael's
new family. Two chicks, three aliens, and a cat.

INT. VALENTI'S OFFICE - NIGHT

Valenti is alone working late at his office. The room is dark
except for the spot of a small desk lamp. The door opens and
someone enters. It's Hank.

HANK
Heard you put out an APB.

VALENTI
Heard right.

HANK
Well, here I am.

VALENTI
In all your glory.

HANK
So you can call off the hounds.

VALENTI
Where you been, Hank?

HANK
Down to Carlsbad. Landed in a bar. Met
a lady. What can I say?

VALENTI
Wanna tell me about the gunshots?

HANK
Never clean your gun while you've been
drinking.

VALENTI
Uh-huh.

HANK
Anyway, got an offer from a plant in
Las Cruces. My lease is up next week.
I'm hitching up the trailer and I'm
gone. Thing is, I'm going alone.

Valenti knows he means without Michael.

HANK (cont'd)
So if I need to sign some papers about
that boy, or anything...

VALENTI
Won't be necessary.

Hank looks relieved. Smug almost. He turns and goes.

VALENTI (cont'd)
Hank. Make it soon.

HANK
Don't worry, Sheriff. I'm already gone.

Off his eerie smile--

SMASH CUT
TO:

EXT. DESERT - NIGHT

A car pulls up to a stop. Hank gets out and walks to the trunk.
Opens it to reveal a very dead HANK, wrapped in an old Army
blanket.

CUT TO:

EXT. GRAVESITE - NIGHT - WIDE SHOT

"Hank" shovels the last scoop of dirt onto a makeshift grave,
wipes sweat from his brow and heads back to his car.

INT/EXT. HANK'S CAR - NIGHT

"Hank" sits in his car as if he's about to leave. He pops a
breath mint in his mouth and holds his hand up, palm in front
of his face. Suddenly, a strange WHITE LIGHT emanates from
"Hank," lighting up the car. An energy causes things to
vibrate. "Hank" moves his hand away from his face, and he
changes into a HISPANIC WORKER. He pops another mint.

The fourth alien. The shape-shifter.

As the Hispanic Worker drives off into the night we

FADE OUT.

THE END









Sexual Healing Cut Scenes

Opening Scene

INT. GIRL'S LOCKER ROOM - SHOWER STALL

Liz is taking a shower (Liz's voice over). She shuts the shower off and turns. That's when she notices that the entire locker room is COMPLETLY EMPTY, eerily silent.

Then, in slow motion, Max appears at the end of the locker room. The two share a long, knowing look. Liz turns to look for a towel, but when she turns back, Max is right near her, in the stall.

Another loaded, uncertain, erotic moment. Max reaches up and grabs Liz's towel. He wraps her up in it. She doesn't stop him, but rather allows herself to be enveloped. They move colser to each other, aching for that magic kiss.

And then Maria crashes into frame:

MARIA Liz, nice strawberries.

Sound of something crashing in...

INT. CRASHDOWN CAFE - BEHIND THE COUNTER

Reality. Where Liz, startled out of her reverie, knocks over a metal bowl full of strawberries, scattering them all over the floor.

MARIA Whoops.

LIZ groan Sorry.

Max approches Liz and Maria.

Liz looks up to see Max approching. Maria pops one of two intact strawberris left in the bowl into her mouth, as she leaves.

MARIA (CONT'D) Sweet.

She hands the other one to Max, as she passes him. He gets down on the floor with Liz to help.

MAX Hi. I hope this isn't my fault?

LIZ Why would it be your fault?

MAX If I startled you.

Liz is flustered. As if Max "caught" her in her fantasy. Everything she babbles makes it worse.

LIZ No. I always knock the strawberries over this time of night. Especially on Thursdays. Right, Maria?

MARIA whizzing by Huh?

LIZ I'll get more berries from the back.

MAX Wait reaching Here's another one.

He drops a squished strawberry in the bag. It's a "moment." Or, is it? Liz, worried it's just her wishful thinking, quickly closes the bag, starts for the kitchen.

INT. CRASHDOWN CAFE - BACK ROOM/KITCHEN - CONTINUOUS

Max follows her.

JOSE calling out I got one rare alien on a bun for you, Liz.

Max gives Liz a private smile. She reddens.

JOSE You want me to smother it?

Max shakes his head, "no," in mock alarm.

LIZ No.

JOSE No orders up. I'm on brake.

INT. CRASHDOWN - BACK ROOM/KITCHEN

LIZ We're friends.

MAX Good.

LIZ Why wouldn't we be?

MAX Well, we really haven't talked...since that night...

LIZ (cuts him off) Max... People do really dumb things when they're drunk. One time, I got really drunk with Maria...

MAX You did?

LIZ She spilled water on her shirt and I tried to put her in the clothes dryer.

MAX Oooww.

LIZ Luckily, she didn't fit. I couldn't get the door closed. So -- there you go. I understand.

MAX And -- we're friends?

Scene continues...







Back to Max and Liz after the flashes.

Maria sticks her head through the cook's window past the plates of food waiting to be taken out by the waitresses.

MARIA Hey, you order's getting...

She sees Liz, held by Max. A wild, ecstatic look on her face.

LIZ What?

Maria, stunned; she's never seen her friend like this.

MARIA Cold.

Liz moves away from Max. She looks herself again.

LIZ AND MARIA AT THE CRASHDOWN CAFE

MARIA What did you see?

LIZ (major revelation) The stars.

MARIA (blowing it off, big deal) Liz. Everybody sees stars. Julie Andrews saw stars in The Sound of Music, or maybe she heard bells... You know what I mean.

LIZ You saw stars? With Michael? Maria. Really.

MARIA: (shrugs) What exactly was Max doing when this happened?

LIZ I don't know what he did. But, when Max Evans kissed me it was beyond anything I've ever experienced. Or even heard about.

Two girls from school overhear this. Exchange looks.

EXT. WEST ROSWELL HIGH - UNDER THE BLEACHERS

Michael and Maria kissing.

MARIA Did you see anything?

MICHAEL I saw you. A little girl. Trying to tie the shoelaces on her little red sneakers...

MARIA You're kidding? The red sneakers?

MICHAEL Yeah. The red sneakers.

Maria wants to believe. And, does.

MICHAEL (cont'd) And -- I think you were crying. Because your little hands couldn't get the bow to come out right.

MARIA (moved; this is true) I never had any patience.

INT. SCHOOL HALLWAY

The girls we saw before at the Crashdown overhearing Liz and Maria, talk with another girl.

GIRL #1 Supposedly, he knows some incredible technique.

GIRL #2 Max Evans?

GIRL #1 The quiet, repressed ones? Very often turn out to be the hotties. It's like they're burning up inside.

GIRL #2 Is it something he does with his tongue? Or are the hands involved?

INT. SCHOOL HALLWAY

The girls look at Isabel. Isabel is shocked. They stand there, looking at the ereaser room.

GIRL #1 (to Isabel) Isabel I guess the rumors about your brother are true.

ISABEL What rumors?

GIRL #1 (gets closet to Isabel) That he knows some special technique. Of pleasure. confidential And I'd be forever indebted to you if you'd ask him to pass it along to Anthony Rutigliano.







Max, Michal and Isabel at Michael's apartment discussing Liz's visions.

MICHAEL Max. If it is real. If there's a chance it's real. You owe it to us. To find out.

MAX (almost knowing) What do you mean?

MICHAEL Mi casa es su casa, amigo...just bring Liz over and go for it.

ISABEL This is your home, Michael, not a Motel 6.

MICHAEL Anything for the cause. (beat) And, in the meantime, I'll pursue...my own avenues.

On Isabel. Trying to be blase, making more juice, not give in to the suddenly lonely awareness, that she's the one in the room without a partner. With a smile, a "joke":

ISABEL Don't look at me. I don't have any avenues.







Michael and Maria in the eraser room after she confesses to have faked the flashes.

MARIA Did you ever think -- maybe if you weren't so defensive... if you didn't just shut down so quickly..

MICHAEL Maybe what?

MARIA Maybe it would happen.

MICHAEL (an admission) I lied to you too. The thing with the shoes.

After a beat.

MARIA Really? Because I did have red sneakers.

MICHAEL Everybody had red sneakers. Look, Maria. This is stupid. No hard feelings. This is so not a big deal.

MARIA Michael -- we could try again...

MICHAEL I don't think that's such a great idea.

And he leaves.







Maria and Liz at the Girls Locker room after they discover Liz's glowing hickey.

MARIA Go. I'll cover for you.

Liz turns back for the locker room. Empty now. Except -- Max is there. For real.

LIZ Oh, my God.

MAX (startled, not expecting her) Liz.

LIZ Is this something you and Maria set up?

MAX (huh?) Maria?

LIZ What are you doing here?

MAX (flustered) I just -- I wanted to see you.

LIZ Here?

MAX I had to know if something was real.

Scene continues...

Max and Liz in the Girls Locker Room.

LIZ This is so horrible.

She turns from him.

MAX No. Liz. It's incredible really.

LIZ That you can see every single embarrassing thing I've ever...?

She walks away. He follows.

MAX Wait. Please, listen. Please. Because the main thing is, I didn't just see what you saw. I felt what you felt. When you saw -- me. she stops And I never though anyone could ever feel that way about me.

Liz turns to him, moved. Despite herself.

MAX: (deep truth) I though it was impossible. That there'd be some deep-down horror. In anyone normal. Who knew that I really was.

LIZ Oh, Max.

MAX And, you don't feel that way. I really know that now. Because -- this is what I saw. And what I felt, those were your feelings. And there wasn't any horror in it. Anywhere. (looks at her, he blew it) Except now, I mean. I'm sorry.

LIZ Max, couldn't you tell how I felt from the things I said? Or, did?

MAX People don't always say the whole truth. They hide things.







Liz after Nancy leave from giving her the no-sex talk.

Liz looks at herself in the mirror. The place where the glowing hickey was. She's horrified to find it's turned into an awful rash or scabby thing.

Liz immediately picks up the phone, goes to a corner, near the mirror. Places a call. Continues looking at the awful scab.

LIZ (quiet, urgent) It's me. I need to see you... (looking at the scab) Max -- something's happening to me.







Max and Liz digging in the desert.

They dig. Taking turns with the one shovel. Sometimes using the shovel as, hands overlapping, they combine effort for maximum strength.

One big push with the shovel and -- a blinding light flashes out of the ground -- like a silver laser.

Instinctively, Max and Liz both jump away from it. Max, trying to protect Liz. The sound stops. The laser light dims and disappears.

MAX You okay?

LIZ Yeah. I didn't study for this badge in Girl Scouts. But I think I'm okay.

They bend down. In the hole they've dug, a small round metallic orb glows with the rmnants of the light they saw. It's beautiful. Eerie. Not of this world. Max reaches in. Lifts up the orb.

MAX (to the orb, nervous joke) Mom?

LIZ Max. Look.

On the side of the orb facing Liz -- the symbol they first found on the pendant. Max and Liz look at the symbol, at the orb...at each other. They're breathing hard, spent.

LIZ (cont'd) What is it?

MAX I don't know.

LIZ Maybe it's, you know, a signal. For... (she raises her eyes to the sky)

MAX Maybe. Maybe we should stick around. See what happens.

Liz gently places the orb on the ground and sits down next to it. Max falls behind her, wrapping her in his arms to keep her warm. The two of them simply stare at the orb -- wondering what it all means -- and catch their breath in the cool night air.







The next morning at Michael's apartment

INT. MICHAEL'S APARTMENT - EARLY MORNING

Maria, slightly disheveled, like someone woken from sleep, knocks on Michael's door. Michael is also ragged when he answers the door. But he's been awake.

MARIA Liz and Max --

MICHAEL I heard.

MARIA I just really need you not to be mean or cold. And if that's impossible, then just tell me.

MICHAEL (not coldy) You want to come in?

MARIA Yeah, because I really need to talk to you about what happened. And for you to not put on the hockey game.

They walk inside. Each takes a seat on the couch, neither far apart, nor close.







Liz and Max walking toward the Crashdown.

LIZ So, your point is that you've saved me from a lifetime of watching Kyle barf?

MAX Liz Parker. I don't think that was ever gonna be your destiny.

LIZ No?

MAX No. Not the little girl I saw building a hospital bed for her sick parakeet out of ice cream sticks.

LIZ You saw that?

MAX Or...

Liz put her hand on his lips to shush him.

LIZ Since you know so much, tell me. What's my destiny?









Crazy Cut Scenes

Michael: What I Learned To Do At The Petting Zoo


ACT ONE

FADE IN:

INT. MICHAEL'S APARTMENT - NIGHT

Michael and Maria are on the couch, kissing heavily to an
amazing song that's playing a little too loudly. Maria is
facing up, eyes half closed.

MICHAEL
Maria...Maria...

MARIA
Michael...Michael...

Maria's eyes grow wide.

MARIA
Max!

MICHAEL
(confused)
What?

Maria pushes him off of her and they both discover Max, Liz,
Isabel, and Alex standing in the room. As Maria composes
herself, Michael reaches over to a CD that's glowing on the
table next to them. The minute he touches it, the loud music
and the glowing stop.

MICHAEL (CONT'D)
The CD player broke. Just something I
figured out how to...what the hell are
you guys doing here?

ISABEL
Sorry to interrupt the petting zoo, but
she's back.

MARIA
Who's back?

MAX
Topolsky.

The rest of the scene continues as aired.


The Pod Squad Takes Their Body Shots


EXT. WEST ROSWELL HIGH - LUNCH ATRIUM - DAY

Max and Liz sit together against the wall. She leans on him
as they read books and eat their lunches. After a beat, he
rests his cheek against her hair and kisses the top of her
head. It's a simple movement, yet their comfort and caring
for one another is so obvious. Especially to Maria, who sits
with Michael at one of the tables on the other side of the
atrium.

MICHAEL
You gonna eat that pickle?

MARIA
Is that all you can think of at a time
like this?

MICHAEL
Isn't it lunch time?

MARIA
Look at them. It's so...effortless for
them to be a couple. Even eating out of a
paper bag is romantic when they do it.

MICHAEL
Does it always have to be about them?

MARIA
It's just the obvious comparison.

MICHAEL
Isn't it enough that I like you and that
I'm actually sitting with you in a public
place and that we have hot...you know...

MARIA
(insulted)
Suddenly I feel very cold.

He gets the message, loud and clear, as we see Isabel sitting
alone in the distance at another table, looking at both of
the couples.

INT. WEST ROSWELL HIGH - DAY

Max is at his locker as Michael comes up, holding a book,
"What Women Want".

MICHAEL
So, is this what you've been using?

MAX
(laughing)
I told you, there's no handbook.

MICHAEL
Then who put this in my locker?

Max catches someone out of the corner of his eye. He looks
down the hall and sees Maria watching them, then quickly
ducking around a corner once she's been spotted.

MAX
You never know, maybe it's worth a look.

Meanwhile, in...

ANOTHER PART OF THE HALLWAY

...Alex and Liz are talking.

ALEX
This is bad. Really bad. I mean, before
it was just, you know, getting arrested.
Now we're on somebody's hit list.

LIZ
She didn't say hit list...

But she's just as scared as his is right now.

ALEX
Who else have you told?

LIZ
Just you.

ALEX
You told me before you told Max?

LIZ
(feeling him out)
You seemed to have a strong opinion about
this last night. Like we should trust
her.

ALEX
Is that what you think we should do?

LIZ
I don't know anymore, Alex. I'm so scared
for him. For all of them.

Maria comes up to them.

MARIA
You'll be happy to know that I'm taking
matters into my own hands.

LIZ
(misunderstanding)
None of us can do that right now, Maria.
I mean, we're all a part of this together
and any decisions we make should be
unanimous.

MARIA
(confused)
Since when do you get a vote in my
relationship?

LIZ
I thought you were talking about Topolsky.

MARIA
I thought we weren't supposed to talk
about that.

LIZ
Stay focused, Maria.

MARIA
I am. I've decided that if Michael and I
are going ahead with this thing, then
it's going to be on my terms.

She notices Alex looking more nervous than usual.

MARIA (CONT'D)
What's the matter with you?

Alex and Liz look at each other. Liz sees Max approaching.

LIZ
You tell her. I've got to tell Max.

Liz leaves Maria and Alex and greets Max who throws his arm
around her and kisses her for no good reason.

MAX
Do you know how many times I've dreamed
of doing that? Right here in the middle
of everything?

But he takes one look at her face and knows something's up.

MAX (CONT'D)
What's wrong?

LIZ
I saw her again. Last night.

Max pulls her aside, they talk quietly.

MAX
You met her?

LIZ
I thought I was meeting you.

Their dialogue continues as aired.

ANOTHER PART OF THE HALLWAY

...Isabel and Tess are pouring over a fashion magazine.

TESS
Oh, you'd look fabulous in that.

ISABEL
Not a chance. Last year's line.

TESS
(studying Isabel)
Have you ever thought of cornrowing your
hair?

ISABEL
How did you know I've always wanted to do
that?

TESS
(smiling)
I learned from this girl in Jamaica.

ISABEL
Is there any place you haven't been?

TESS
We try to avoid LA. Very shallow.

Alex comes up, still nervous over the Topolsky events.

ALEX
Isabel, I have to talk to you.

ISABEL
We're kind of in the middle of something.

Alex squirms under their gaze, but perserveres.

ALEX
I have to talk to you now. Privately.

He takes her by the arm as she protests.

ISABEL
Alex --

Tess watches as he leads her toward the Eraser Room.

ALEX
(quietly)
I'm sorry, it's important.

ISABEL
It better be.

Alex opens the door to the Eraser Room to reveal Max, Liz,
Michael and Maria all in there waiting, very serious. And
very cramped. Isabel is confused.

MICHAEL
Let's go someplace bigger.

INT. CRASHDOWN CAFE - CONTINUOUS

They go into the restaurant. Alex follows, upset.

ALEX
I thought we decided to lay low, you know,
with everything that's going on?

MARIA
Michael thought we should hide in plain
sight.

ALEX
Oh, I get it. Your boyfriends are calling
the shots now because neither of you want
to jeopardize you face-sucking privileges.

MARIA
And maybe you're just jealous because
you're not getting any.

Liz pulls them into the busing area.

LIZ
(whispering)
Don't let this happen. We've got to stick
together now.

ALEX
I'm not the one who voted against us.

MARIA
Fine, why don't you just run to Topolsky
and tell her everything. Where's that
going to get us?

ALEX
It might just keep us alive.

LIZ
Don't do anything crazy, Alex. We just
don't know...

Max, Michael and Isabel enter through the front door.

ALEX
Oh great, everyone's invited but me?

LIZ
I don't think Isabel's coming.

ALEX
Well maybe I can talk some sense into
her.

He crosses over to Isabel as Max and Michael greet Maria and
Liz. They are all dressed nicely, even Michael.

MAX
(to Liz)
Hi.

LIZ
Hi.

They kiss.

MICHAEL
(to Maria)
Hi.

MARIA
Hi.
(waiting)
I thought we were supposed to make this
look for real.

Michael realizes, then gives Maria a kiss, too









Four Square Cut Scenes

MAX: Michael's done this all his life, you know? Always thinking he knows better than us, but just getting us into more trouble.

LIZ: Families can be hard.

MAX: I don't even know if that's what we are. I mean, that's what we've pretended to be for so long, but what if Nasedo tells us something different? Doesn't Michael even think about these things?

LIZ: You are whom you choose to be, Max. Just like you're with whom you choose to be with.

They look at each other for a beat.

MAX: I really want to believe that.

Then they talk about star charts and stuff.... Later in the same scene:

LIZ: Was it better, Max?

MAX: What?

LIZ: Kissing Tess. Nasedo. Whoever it was. Was it better than kissing me? More powerful? (beat) More important?

MAX: When I kiss you, I feel heaven.

LIZ: (touched) That's not what I asked.

MAX: It was... upsetting. It made me feel things about myself I didn't like. Like there was this whole side of me I never even knew about.

LIZ: The alien side.

MAX: Maybe.









Max to the Max Cut Scenes

The Isanity Of Isolation


TESS
(to Michael)
I'm your sister.

POD CHAMBER - ROCK FORMATION

MR. HARDING
How could you bring them out here? This
is a big mistake.

TESS
You know, I've spent my entire life with
you and you alone. Do you know what it's
like spending your every waking moment
with only one other person? I'm about to
go insane.

MR. HARDING
You know the Special Unit is close. You
saw that camera. Who do you think put it
on them in the first place? Our friend
Pierce.

TESS
So why don't you kill him? According to
Max you've done that before.

Scene continues as aired.


It's Gettin', It's Gettin', It's Gettin' Kinda Hectic


INT. WEST ROSWELL HIGH - HALLWAY - DAY

Max sees Tess at the other end of the hall. He steels himself
but before he can reach her, LIZ startles him.

LIZ
Max. There you are. I've been up all
night thinking about how we're going to
get that book from Tess. It's probably
somewhere in her house. All we have to
do is...

MAX
I don't care about the book.

LIZ
Max, that book could have all the answers
you've been looking for.

MAX
Maybe I don't want them anymore.

LIZ
(beat)
Did something else happen last night that
I don't know about?

MAX
(lying)
No.

Suddenly, he kisses Liz. Liz has quick

FLASHES

...from moments in their relationship. Moments of connection.

LIZ

...comes out fo the kiss, startled.

LIZ
Max...

MAX
Liz, it doesn't matter what's in that
book. What's real is how we feel about
each other.
(beat)
Right?

Liz knows Max couldn't forget about the book.

LIZ
Right. Max, is there something you're
not telling me?

Max hates to lie again, but knows he has to. And this time
he has to make it look good.

MAX
No. Everything's fine.

INT. CRASHDOWN CAFE - KITCHEN/BACK ROOM - DAY

Isabel and Michael together in the kitchen/back room area.

ISABEL
I don't even know who you are anymore. I
mean, are you my brother? Are you my...
mate?

MICHAEL
You know, Isabel, I'm still the same
guy. This isn't going to change anything
between us.

ISABEL
It already has. I can't forget that dream,
can you? You were so happy, I've never
seen you that happy.

Scene continues as aired.


Kissing The Void


INT. CONVERTIBLE - OLD HIGHWAY - DAY

LIZ
That a threat or a promise?

Nasedo-Max grins and pulls over. Inspired by his comment,
Liz attacks him more enthusiastically than even he expected.
And he returns the affection with surprising hunger.

LIZ
(between kisses)
Good thing we stopped. We don't want to
wreck. Like last time we were on this
highway.

NASEDO-MAX
(breathless)
Right...

LIZ
Remember that day?

NASEDO-MAX
Of course...

LIZ
We were just flying down the road... the
wind in our hair, that song was on the
radio...

NASEDO-MAX
I remember...

LIZ
... and then we almost hit that...
wild...you know... that was in the road...

NASEDO-MAX
Right... the... deer.

LIZ
Yeah. No. It was a horse.

NASEDO-MAX
Right. A horse.

She stops and looks at him. Does he really not remember? Or
is he just caught up in the passion? Liz kissess him again.
This time, she gets a

FLASH

Not her usual Max flash, but something different. Dark,
disturbing, VOID-LIKE images.

LIZ

pulls away.

NASEDO-MAX
What?

LIZ
Nothing...

On Liz, knowing something is very wrong.


A Present For Pierce

INT. CONVERTIBLE - OLD HIGHWAY - DAY

PIERCE
Just tell him that I left him a little
clue on Highway 380 to Hondo. Near mile
marker 67.

To end the call, he closes his fist around the cell phone
until it melts away to nothingness.

LIZ
Are you going to kill me too?

Scene continues as aired.


Soul Searching


EXT. CARNIVAL - NIGHT

Liz and Nasedo-Max stand near a BLUE-HAIRED OLD LADY some of
her friends, waiting in line for a ride.

LIZ
I don't believe you.

NASEDO-MAX
It's true. Tess and Max were made to be
together.

LIZ
But you don't know what Max and I have.
Ever since he saved my life at the
Crashdown, he's changed my. We've seen
into each other's souls.

Nasedo-Max laughs. It incenses her.

LIZ (CONT'D)
You have no idea what that means, do you?
Because when I kissed you, you had no
soul for me to see.

Nasedo-Max is taken aback by her boldness. Before he can
respond, the Blue-Haired Lady's cacle interrupts them.

BLUE-HAIRED LADY
I don't believe any of that hokey. There's
no such thing as aliens.

Scene continues as aired.


Trusting Tess... Not

EXT. CARNIVAL - NIGHT

MAX
We've got to split up and look for Valenti.
He'll lead us to Liz.

MICHAEL
(to Tess)
You're staying with me.

The trio splits and fans out over to the carnival.

Scene continues as aired.


Savior To The Max

IN THE HOUSE OF MIRRORS

CLOSE ON LIZ AND MAX after on Max steps in and grabs Liz.

LIZ
Is it really you?

MAX
We've got to get out of here.

Scene continues as aired.



Et Tu, Fisher?


VALENTI

... is standing among the remnants of the cracked mirrors
alone with Deputy Fisher.

VALENTI
What the hell were you thinking? You let
them get him!

DEPUTY FISHER
They said they were FBI... aren't we all
on the same side?

Off Valenti, unable to answer that question.


Close









Destiny Cut Scenes

MAX: You were just trying to stop him. I know you didn't mean to kill him.

MICHAEL: That's just it, Maxwell. I did want to kill him. That's all I could think of. And then it just... happened. (beat) What kind of person does that make me?

MAX: We would have died if hadn't been for you.

MICHAEL: Bottom line, Maxwell. I kill people, you heal them. You're good, I'm bad.

MAX: That's not true, Michael.

MICHAEL: It's me, I'm not safe. Whatever I can do now, I can't control it. Look what I did to Pierce. I'm not going to take any chances with you. I don't want you to be around for what happens next.

MARIA: Don't do this to me, Michael. You need me now, more than you ever have before.

MICHAEL: I don't need anybody.

MARIA: Maybe I do, have you ever thought of that? Max and Liz, they can't bear to be separated. But you, you're ready to just throw me away. Why, Michael, why?

MICHAEL (blurting it out): Maybe because I love you too much. Have you ever thought of that?

MICHAEL (cont'd): Goodbye.

MARIA (simply): I just hope you find what you're looking for. (fighting emotion) Because I don't think you realize what you're giving up.

Here's the Destiny Van scene with some parts that they cut out! As always....I think they should've left them in!



LIZ: So everything Nasedo told me was true. You and Tess were meant to be together.

LIZ: So everything Nasedo told me is true. You and Tess were meant to be toge

MAX: Liz.

MAX: Liz, I'm sorry.

LIZ: I mean, it's your destiny, right?

LIZ: You don't have to be sorry. I mean, it's your destiny.

MAX: I wish I could go back Liz. Back to when things were normal.

MAX: That's not what I'm sorry for. I'm sorry for all the time I wasted before we ever got together. For every time I stopped myself from just coming up to you and saying hi. I wish I could go back, Liz. Back to when things were normal.

LIZ: Me, too. I just wish that I could have stopped you from saving my life that day in the CrashDown.

LIZ: Me, too. I wish we could go back so I could stop you from saving me that day in the Crashdown.

MAX: Don't say that.

MAX: Don't say that.

LIZ: Max, the day that you saved my life, your life just ended.

LIZ: It's when all this started. When you were exposed. We've just been buying time since then, haven't we? The day you saved my life, your life ended.

MAX: No, that was the day my life began. Liz, when I was in that room, and they did what they did to me. You're what kept me alive. The thought of you. The way your eyes look into mine. Your smile. The touch of your skin. Your lips. Knowing you has made me human. Whether I die tomorrow or fifty years from now, my destiny is the same: it's you. I want to be with you, Liz. I love you.

MAX: No. That was the day my life began.

LIZ: I wish I could believe that.

MAX: Liz, when I was in that room. When they did... what they did to me. You were what kept me alive. The thought of you. The way your eyes look into mine. Your smile. The touch of your skin. Your lips. Knowing you has made me... Human.

LIZ: But that's not your destiny, is it? To be human.

MAX: I'm choosing my destiny. Whether I die tomorrow or fifty years from now, my destiny is the same. It's you. I want to be with you, Liz. I love you.

LIZ: I love you. (They kiss.)

LIZ: I love you, too.







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