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Episode begins with Michael and Maria on a roof with binoculars, spying on the sheriff's station.
MARIA: Okay, that is freaky.
MICHAEL: Yeah, that's pretty weird, huh?
MARIA: Pretty weird, huh? Michael, have you ever even thought of the possibility that this guy more than just looks like you? Like he is you. Like your donor. Like your human side is him. Which means in some weird and twisted way, that he and his relatives are like your family.
MICHAEL: Like Laurie Dupree.
MICHAEL: It figures. I finally find a family member, and she's a complete whack job.
MARIA: Someone's in Garrison's Hardware Store.
MICHAEL: Maria, we're supposed to be watching the sheriff's station.
MARIA: I think they're having sex!
MICHAEL: (refocusing his binoculars on the hardware store) Whoa.
Switch to Agent Duff questioning Laurie, who's staring off into space
AGENT DUFF: Laurie, if you help me find the man who did this, I can stop him from hurting someone else like he hurt you. But you have to talk to me. We've been at this for two days. I'm sending you back to Pinecrest, to your old room. We'll have extra security to make sure that you're safe. Tell me everything you know about who did this to you.
LAURIE: They're aliens. (pause, then she starts to get frantic) Oh, no. Oh, no!
AGENT DUFF: What? Laurie, what? What? (looks around the room) What? What is it?
LAURIE: They're back.
AGENT DUFF: Who's back?
LAURIE: They're close. They're coming here.
AGENT DUFF: Who's coming here?
LAURIE: I have to get out of here.
She gets up and runs to the door, with Agent Duff trying to head her off
Agent Duff: No! No! Hanson!
LAURIE: Aah! They're close.
AGENT DUFF: Hanson!
LAURIE: (reaches the door and starts pounding on it) Let me out of here!
Deputy Hanson and several officers run in to help Agent Duff subdue Laurie. As she is struggling with the officers, she manages to grab a paper clip from the desk and hide it up her sleeve.
LAURIE: No! No! You've got to let me go!
Back to Michael and Maria on the roof
MARIA: (laughs) She's not actually going to plug that thing in, is she?
MICHAEL: Go, baby, go! Yeah!
MARIA: Sick, man, this town is sick. (turns her attention back tot he sheriff's station) Michael, something's happening.
They watch as Laurie is led out of the station, still struggling, and strapped to a guerney. She's then loaded into an ambulance which takes off. Michael and Maria follow in the Jetta
MARIA: (glancing over at Michael as he's driving) So just to put this out there, I'm assuming that we're back together again?
MICHAEL: I'm not going to get into this relationship stuff right now.
MARIA: You don't have to. Actually, I'd prefer that you didn't say anything at all. I'm just telling you that if we're chasing down some crazy girl in the middle of the night, the only reason that I'd do something so nuts is because you and I were dating again.
MARIA: I told you not to say anything.
A third car, unnoticed by Michael and Maria, falls into line behind the Jetta. Meanwhile, in the ambulance Laurie uses the hidden paper clip to get out of her restraints. She takes the guard by surprise and hits him over the head with his gun.
AMBULANCE DRIVER: What's going on back there?!?
Laurie grabs the wheel and attempts to take control of the vehicle.
AMBULANCE DRIVER: (as they struggle) Hey! Hey! Hey, lady. What are you doing? What are you doing? Wait!
The ambulance crashes. The Jetta pulls up behind them, and Michael rushes up to the window.
MICHAEL: Hey, can you hear me?! Are you guys all right?!
He doesn't get an answer, so he runs to the back and opens the doors. Laurie stumbles out into his arms, but freaks when she recognizes him.
MICHAEL: Hey. Hey. (LAURIE screams) Easy! Easy! I'm not going to hurt you. We're here to help you!
MARIA: We're here to help--
Laurie knocks Maria over as she takes off running. A figure wearing a ski mask gets out of the third car and starts shooting at Laurie.
MICHAEL: (to Laurie, as he catches up to her) Get down! Get down! (to Maria) Maria, get in the car!
MARIA: (as a bullet just misses her) Aah!
She runs to join Michael and Laurie behind the Jetta, with bullets still flying. Michael grabs Laurie's face and forces her to listen to him.
MICHAEL: Hey! Hey! Hey! Hey! Hey! (he finally gets her to look at him) Now, you can come with us, or you can stay here and get killed. Okay?
Michael turns to the shooter's car and holds out his hand, exploding the car's engine, as Laurie looks on in shock. As the shooter regroups, Michael opens the car door.
MICHAEL: Come on, quick! Get in the car! Get in the car!
The three teens pile into the car, as the shooter aims at them once again. Several shots hit the car as they take off with a squeal of tires.
Scene switches back and forth between the Evans home and Michael and Maria. Max and Isabel are on the phone with Michael, who has pulled over to the side of the road out in the desert. Michael and Maria are outside the Jetta, with Laurie locked inside doing her best to get out and tearing up the car in the process. As Michael fills in the Evans, Maria keeps a running tally of the items Laurie is breaking
TELEVISION: "...Sources within the county hospital say that the young girl, Laurie Dupree, became agitated while the vehicle was in motion. But what is not clear is how Laurie Dupree released herself from her protective restraints and somehow..."
MAX: Where are you?
MICHAEL: I don't know. We're about, uh, 30 miles west of Dexter.
MARIA: The side mirror. One hundred bucks, not including labor.
TELEVISION: As you can see, there's an abandoned stolen vehicle here. Now, how that figures into this developing story is still unclear.
ISABEL: How is she?
MICHAEL: Who, Laurie? She's completely crazy. She tried to jump out of the car three times while it was moving, so I had to use my powers to lock her in. She's basically like a caged animal.
MARIA: Sun visor. Fifteen bucks, including labor, of course.
TELEVISION: At this hour, a county-wide search for the missing girl is underway. Here is a recent hospital photograph.
ISABEL: God. The whole state's going to be looking for her. You can't come back to Roswell, Michael.
MARIA: (as Laurie pulls her Walkman off the dashboard) No, no, no, no, no. Now--now you're hurting all of us.
MAX: We can use any information we can get about the crystals. Try and get her talking.
MICHAEL: Oh, yeah. She's a real conversationalist.
MARIA: Not the dash! Not the dash! That is a major deal to replace.
Michael hangs up and turns to Maria, who gives him an exasperated look.
MARIA: Do you see this?
MICHAEL: (to Laurie) What are you doing?
Meanwhile, at the Valenti house, Kyle and Tess approach Valenti who is doing some woodworking in the garage.
KYLE: Hey, dad.
VALENTI: Kyle. Tess.
KYLE: What are you doing?
VALENTI: What's it look like?
KYLE: I'm not sure.
TESS: He's-- he's building something. Right?
VALENTI: Give the girl a prize. It's been a while since I had time to work on this.
Kyle notices a piece of paper lying next to the workbench and picks it up. It's a copy of a lawsuit filed against Valenti by Grant Sorenson.
VALENTI: The one thing I got plenty of now, it's time.
KYLE: (stunned) Right.
Back at the Evans home, Max is studying the crystals under a microscope in his bedroom when Isabel walks in.
ISABEL: Are you getting anywhere?
MAX: I think we're dealing with some kind of, uh, alien bacterium... or something.
ISABEL: Maybe you should ask your lab partner. She's the science whiz.
MAX: I'm trying to keep Liz out of this right now.
Isabel looks worried. Scene switches to the Crashdown, where Isabel, Liz and Alex are discussing the situation.
ALEX: So they're driving around aimlessly with a fugitive in the car.
ISABEL: No, no, she's not a fugitive. She's just... wanted by the law.
ALEX: Interesting distinction.
ISABEL: Anyway, they're going to be gone for a couple of days, so we need to cover for them.
Sean hears the tail end of this as he walks up behind them.
SEAN: Who may be gone for a couple of days?
LIZ: Uh, no one. Um, Sean, we're sort of having a private conversation here, so...
SEAN: Aunt Amy's flipping over M being AWOL.
ALEX: Great! You want to translate that for, you know, the people that haven't served time?
SEAN: Where the hell's Maria?
LIZ: Uh, oh, I-- I don't know.
SEAN: Well, Aunt Amy's freaked out. She wants to see you soon. Let's go.
LIZ: (to the others) Okay, um...I'm going to go over there with Sean and, um, try and keep that situation over there from getting out of hand.
ISABEL: Yeah, good idea.
ALEX: Yeah, smart move.
SEAN: (to Liz, as they're walking away) Nice top. I dig the midriff thing.
LIZ: Yeah, shut up, please.
Michael's outside the car talking to Laurie, who's inside ignoring him.
MICHAEL: Laurie, I'm trying to help you, okay? I mean, just tell me if you have any family. How hard is that? Come on! You can trust me! I pulled you out of that ambulance. I saved you from the kidnappers. I mean, what else do I gotta do? (gets frustrated and honks the horn)
MARIA: Michael! That's it. Let's go. I'm hungry. Let's go.
MICHAEL: Go? Go where?
MARIA: To the roadside cafe. It's the world's worst chili-cheese fries in about 100 miles, but best vanilla shakes in five.
MICHAEL: The cops are looking for her, you know.
MARIA: Listen, trust me, even the cops give the roadside a wide berth. It's strictly for us hard-core greasy spoon aficionados.
As Alex and Isabel are leaving the Crashdown, they run into Agent Duff at the door.
AGENT DUFF: Miss Evans.
AGENT DUFF: Agent Suzanne Duff, FBI. (she pulls out her badge)
Scene switches to the sheriff's station, where Isabel is in an interrogation room. Agent Duff walks in.
ISABEL: Shouldn't my parents be here?
AGENT DUFF: You're eighteen. The law says you're an adult now.
ISABEL: Well, a lawyer, then.
AGENT DUFF: Well, why would you need a lawyer? You're not under arrest. Let's just talk-- for a second. Sheriff Valenti knew that Laurie Dupree was missing before a missing person's report was filed. How? He won't say. He also knew how to find her buried underground in the middle of nowhere. How? He won't say. The only link I seem to find is you and your brother. You were seen during the investigation a number of times with the sheriff.
ISABEL: I lost my bike that week.
AGENT DUFF: Oh, I know. No, I heard. And let's just say that I believe that. That still doesn't explain why you were at the crime scene with the sheriff. Isabel... what is the big secret, and why can't I be let in on it?
ISABEL: I've already answered these questions for Deputy Hanson.
AGENT DUFF: But you lied to him. (pause) I'm not some local deputy working for a local sheriff. I'm with the Federal Bureau of Investigation. And if you lie to me, you're in deep trouble, young lady.
[Knock on door]
AGENT DUFF: (annoyed at the interruption) What?
HANSEN: Sorry, Agent Duff.
AGENT DUFF: Deputy Hanson, this is not the ti--
Grant Sorenson walks into the room carrying a shotgun.
AGENT DUFF: Mr. Sorenson, what--what can I do for you?
GRANT: I found this in the woods this morning, about a mile east of the crime scene.
Michael, Maria and Laurie are seated at a table at the Roadside diner, with country music playing in the background.
MARIA: (as she checks out the menu) Ah, the food that time forgot. I'm assuming that anything out of a can is a safe bet.
LAURIE: (out of the blue) I have to go to the bathroom.
Michael and Maria look at each other, stunned that she spokel.
MICHAEL: Fine. Maria.
MICHAEL: Go with her.
MARIA: Are you crazy? Have you ever seen that bathroom? It's one stall and a door. I'm sorry. No, thank you.
MICHAEL: Well, if you don't, she's gonna book. (looks over at Laurie) Isn't that right?
Maria sighs, puts down her menu, looks across the table at Laurie and talks to her as if she's a child.
MARIA: Okay, I'm sorry. I've had it. Look. I am not your mommy, and I'm not your doctor. So there is no frickin' way that I'm gonna go in the bathroom with you and hold your hand while you potty. Look. We gotta establish a little trust, all right? You trust us, we trust you. Got it? Look, all we're trying to do is help you escape the evil aliens that wanna bury you in the woods, remember? Is there anybody else out there in the big bad world that's gonna do that for you, hmm? No. See, I didn't think so. So, look, after you answer nature's call in that toxic waste dump of a restroom, you have the choice of either a) rejoining us here at the table with a different attitude for a nice, delicious meal, or b) you can hoof it to the Mexican border. It's about 150 miles thataway. (looks over at the counter) Can we get some service, or what, hmm?
MICHAEL: Do you think that's gonna work?
MARIA: Not a chance, but it doesn't matter. The Mexican border's thataway.
Meanwhile, at the DeLuca house...
LIZ: I am certain Maria is fine.
AMY: Oh, she called. She went camping again.
Liz: Oh, see? I knew it.
AMY: Do you know what these are, Liz?
LIZ: Long johns?
AMY: Maria's long johns. Why would Maria leave her long johns and all of her other winter gear at home if she went camping in the middle of February? (pause) Here's a theory from someone who's had several hours to muse on it. She didn't go camping. She lied to her mother, just like she lied to me the other four times she took off for days on end, each time leaving out on the open road another piece of her innocence, and my Jetta. Liz, I consider you a friend... and an extended member of this family, and I value the friendship you have with my daughter very much. But if you don't tell me everything you know about where the hell she is, I'm gonna become very violent with you.
LIZ: Mrs. Deluca, she's fine. (pause) She's with Michael.
AMY: I knew it.
LIZ: No. But they're just getting away, you know? They're taking in the scenery.
SEAN: Yeah, of a cheap motor inn.
LIZ: Sean, shut up.
AMY: All right, give me your phone.
AMY: Hand it over. (Liz hands her the phone) She shut her phone off, but I'm sure she'll be turning it on to call you again. And when she does, I'll be here with you to receive that call. You can sit down. You're not going anywhere till I get my daughter back.
Scene switches to Laurie strolling down the road in the middle of nowhere. The Jetta pulls up behind her. When she realizes who's in the car, she takes off running, but stops as she realizes it's useless. She then sits down on a fallen log and stares off into space as the other two get out of the car.
MARIA: Laurie Dupree! Fancy meetin' you out here. So what's goin' on, huh? What's happening?
MICHAEL: You okay?
MARIA: You know what? Why don't you give those lips a rest and let me have a word with spaceboy, okay? Okay.
Maria pulls Michael off to the side
MARIA: Okay, you wanna get through to her? You wanna make a connection here? This is what you gotta do. You gotta tell her the truth.
MICHAEL: Oh, forget it.
MARIA: Look, you wanna know why you look like Grandpa 1935? She has the key. So, you have two choices, all right? You can let her in on the whole alien conspiracy thing and hope that it shakes something loose from the dusty corners of her brain, or you can... No. You know what? That's not gonna work, so look... You have that one option, all right?
MICHAEL: No, no, no. What's my second option?
MARIA: You're not capable of it, I promise.
MICHAEL: Just say it.
MARIA: Form an emotional bond with Laurie. (Michael shakes his head) All right, fine. You don't like that answer, then go show her the secret alien handshake.
MICHAEL: (sighs) Okay, fine. What kind of psychobabble, Oprah crap do I gotta tell her?
MARIA: I can't put the words in your mouth, Michael. It's gotta come from you. It's gotta come from your-- it's gotta come from whatever organ you have sitting in for your heart. Just go over there and tell her in your own words that she can trust you, and make sure that she feels that you're being completely, emotionally honest.
MICHAEL: Okay, fine.
MARIA: All right, you think you can handle it?
MICHAEL: I'm not completely emotionally retarded. I have feelings.
MARIA: All right, then walk 'em over there and give 'em a workout.
Michael approaches Laurie cautiously, as the scene switches to the Valenti home. Jim is woodworking when Kyle walks in. He looks up and sees his son, and turns off the equipment.
KYLE: Hey, dad.
KYLE: I shouldn't be concerned here, should I? I mean, you're not building a guillotine or something?
KYLE: I'm not that far off, though, am I? You're killing yourself here.
VALENTI: I'm doing a little woodwork, that's all. Okay?
KYLE: What are you making?
VALENTI: Baseball bat.
KYLE: Baseball bat.
VALENTI: Give you one... when I'm done. Always wanted you to have a handmade bat. Thought about it when you were in Little League. I'm, uh... I'm in kind of a dark place here, Kyle. This is gonna take me a little while to work my way out of it. Okay?
KYLE: All right. Tess and I... we're still here. We're just trying to make ends meet, keep our heads above water. (pulls out the lawsuit) Well, if this lawsuit doesn't go away, we'll be in that dark place with you.
Scene switches back to Michael and Laurie. They're both seated on the log, with Laurie staring off into space and Michael trying to get through to her.
MICHAEL: Look, Laurie, I know a lot of people think you're pretty crazy. But the truth is, knowing everything you've been through, you seem pretty normal to me. I just want you to know that whatever you are to me-- a sister, a cousin, whatever-- you're the only family I've ever known, and I just found you. I don't... I don't want to let you go. I know you're scared to death of me, but... if you could find some way to trust me... I mean, I got all kinds of faults. And this one over here, you know (gestures to Maria) she can list them off for you if you want later on, but... the one thing I am is loyal. I will not turn my back on you. That's all I got to say. I don't know.
LAURIE: (still staring off into space) You're not my Grandpa, are you?
MICHAEL: No. But I'd like to meet him.
LAURIE: Tucson. (finally looks him in the eye)Grandpa's in Tucson, Arizona.
Back at the Evans home. Max has fallen asleep at his desk. As he sleeps, the crystal turns to gel and makes its way across the desk and over his outstretched arm. As Max wakes up, startled, the gel quickly slides off his arm and reverts to its crystal form. Max grabs a container and slams it down over the crystal.
Scene switches back to the DeLuca home, as Liz's cell phone rings.
AMY: Uh...Uh... (trying to figure out to turn the phone on) Liz, I, uh...
LIZ: What? Push the but-
Amy finds the button and turns the phone on
AMY: Uh, hello?
MARIA: (puzzled) Hello?
AMY: That's right. This is your mother. I confiscated Liz's phone. Where are you?
MARIA: I-I'm still in New Mexico, Mom.
AMY: Oh, that's cute. Where are you?
MARIA: On our way to Arizona.
MARIA: We're--we're being free spirits, mom.
AMY: That means you're going to Sedona to get stoned and have sex in the hills?
AMY: Do you think I wasn't seventeen once? Do you think I didn't do crazy, stupid things with a really bad boy when I was your age?
MARIA: Yes, I know you did, Mom -- Dad.
AMY: Let me talk to him.
MARIA: No. Why?
AMY: Put him on the phone now!
MARIA: She wants to talk to you.
MICHAEL: (trying to push the phone away) What? No! Get it-- are you cra-- Hey, Mrs. DeLuca.
AMY: Michael, I want you to listen to me very, very carefully. On this glorious, rebellious, lost weekend of yours, you will take care of my daughter. You will protect her and be kind to her, and she will have fun. You will not get matching tattoos, and you will not allow her to pierce any part of her body that cannot be shown in polite company. [Sniffles] And, Michael, if you have sex with my daughter, I will hunt you down and kill you like the mangy dog you are. Okay?
AMY: Call me if you need bail money.
MARIA: What'd she say?
MICHAEL: [Sighs] she wants you to have fun.
AMY: (to Liz) Shut this off.
SEAN: I think you should call the police.
SEAN: I'm just thinkin' about Maria. I don't want anything to happen to her.
LIZ: Michael will take care of her, Mrs. Deluca.
SEAN: Oh... I don't know. Guerin's a mighty shady character.
LIZ: Oh...Look who's talking.
SEAN: Me? I'm not shady. I'm, uh... I'm misunderstood.
Sean hits Liz with a throw pillow
LIZ: Stop, Sean.
SEAN: What's the matter, can't handle it, Parker?
LIZ: Sean, stop it.
LIZ: Sean... I'm not kidding. Stop.
LIZ: Sean! Stop!
AMY: (as a full-fledged pillow fight breaks out) Okay, okay! I need a drink here. Sit down. Please behave yourselves.
LIZ: Sean! Get-- yeah! Stay down!
Amy opens the door to leave and sees Max standing there with his hand up, ready to knock on the door.
AMY: Uh...Hi, Max.
MAX: Hi. Uh... is... is Liz here?
AMY: You're not planning to take her across state lines, are you?
AMY: Then, yeah... she's here.
Amy leaves as Max makes his way to the living room.
LIZ: (laughing) Stop it! Come on! Stop it! Please get off of me. Get off of-- Sean, get off. Get off!
LIZ: Will you please get off of me! Sean--what? What? Max! Um...
MAX: Hi. Um...
LIZ: What are you doing here? Is something wrong? (to Sean) Stop.
MAX: I...I need your help with something. Science homework.
LIZ: Okay. Um... I'm gonna go get my bag. Um... Okay.
SEAN: Bye, Liz. Good to see you again.
LIZ: Bye, Sean. You, too.
Valenti approaches Sorenson out at his campsite. Sorenson completely ignores him.
VALENTI: Sorenson? Hey, listen, I, uh... I came out here to see if we could settle this thing. Uh... I admit I kinda stepped over the line with you, but... It doesn't give you the right to try to destroy my family. Hey. You could do me the courtesy of turnin' around.
GRANT: (slowly turns to face Valenti, then suddenly lunges at him) Arrrrhhhh!
Struggle ensues until Grant seems to turn into himself again.
GRANT: Don't hit me. Sheriff, stop! What the hell you doin?!? Stop!
Valenti bursts into the Sheriff's office
AGENT DUFF: I just got a call that you attacked Sorenson again. What is it, woodshop got you frustrated?
VALENTI: I want you to put Grant Sorenson under surveillance.
AGENT DUFF: Thanks for your suggestion, but maybe you're forgetting you're no longer sheriff.
VALENTI: He's the one you're looking for. He's the kidnapper.
AGENT DUFF: Does this have anything to do with his $15 million lawsuit? This is the gun that was used to fire the bullets at you, Max and Isabel. Sorenson found it out at one of his digs and he brought it to me. Sheriff, if he is a kidnapper, why would he be trying to help me solve this case?
VALENTI: All right... I went to Sorenson to try to settle our differences, okay? When I approached him, he didn't recognize me. It was like he'd never seen me before. Suddenly, he lunged at me, and one minute later, he's his old self again. Now, I don't know. Maybe... Maybe he's guilty and he's innocent.
AGENT DUFF: A split personality?
VALENTI: Grant Sorenson may have turned in the rifle, but I'm telling you... the person that jumped me earlier today is the one who fired it.
AGENT DUFF: Well, that's an interesting theory, sheriff, but the problem is, right now you appear to be the one with the split personality.
At the UFO Center...
LIZ: It looks like they're... alien versions of negleria filarae. Waterborne parasites found in the blood cells of certain species of fish.
MAX: Parasites? Well, that implies they need something to feed on... like an arm.
LIZ: Maybe, but you said that they didn't affect you.
MAX: No. I got the feeling I didn't taste good or something.
LIZ: Then they didn't react when sheriff Valenti picked them up?
LIZ: Sounds like they're not interested in terrestrial organisms.
MAX: Well, except Laurie. They formed on her grave site.
LIZ: So, maybe there's something unique about her, something the parasites are looking for. (thinking) Or there could be something unique about her grave site. It's in Frazier Woods, right?
Liz dials the phone
LIZ: Isabel. Hi. It's Liz. We need you to do something.
Grant approaches Isabel at the Crashdown.
GRANT: I got your message. What's up?
ISABEL: I wanted to talk to you.
GRANT: I hope this isn't about my lawsuit again, 'cause that lunatic sheriff just attacked me.
ISABEL: No. It has nothing to do with that.
GRANT: Then why are we here? I thought you told me it was over between us.
ISABEL: Look, Grant... things just got so complicated, and I guess I just wish that we could go back to the beginning. As if we just met. (holds out her hand) Isabel Evans.
GRANT: (shakes her hand) Grant Sorenson.
ISABEL: What do you do, Mr. Sorenson?
GRANT: Grant, please. I'm a geologist.
ISABEL: A geologist. Fascinating.
GRANT: Oh, I'm glad you think so.
ISABEL: Well, I want to hear all about it.
GRANT: What would you like to know?
ISABEL: What are you working on right now?
GRANT: I'm doing a survey out in Frazier Woods.
ISABEL: Really? Tell me... What's so special about Frazier Woods?
GRANT: Mm. Well...
Maria, Michael and Laurie pull up in front of the Dupree home -- a palatial estate with a security gate.
MARIA: Wow. Grandpa's done pretty well for himself.
MICHAEL: You okay?
LAURIE: I'm nervous. I haven't seen my grandfather for so long.
Michael buzzes the intercom at the gate.
INTERCOM: Can I help you?
MICHAEL: Yeah. We're here to see charles Dupree.
INTERCOM: Who are you?
MICHAEL: I'm Michael, this is Maria, and this is Mr. Dupree's granddaughter, Laurie.
The gate opens. As the maid opens the door, she reacts visibly when she sees Michael.
MICHAEL: (to the maid) Hi.
She lets them in without speaking. They walk in cautiosly and are approached by a gentleman coming down the hall.
Man: Laurie. Is it really you, Laurie?
He stops when he sees Michael, stunned.
LAURIE: Where's grandpa?
MAN: Oh, my God.
WOMAN: (coming down the stairs) Bobby, you do remember that we have that function later this afternoon, don't you? I mean, really, you can't be trotting around the polo grounds for the whole afternoon and expect me to do all-- (she sees the group) who are-- what is it?
LAURIE: Aunt Mary, I want to see my grandfather right now.
BOBBY: He's dead, Laurie-- he's been dead for seven years. You were at his funeral, for God sakes.
Scene fades out to commercial break. When we return, Bobby and Meredith are speaking quietly at the bar while the teens are taking in their surroundings.
BOBBY: Spooky. I mean, it's just spooky.
MEREDITH: Oh. Typical is more like it. Daddy always did have that wandering eye. Looks like he just wandered off the marital reservation and left us all a little surprise, hmm? [louder, to the teens] Well, I love surprises. [Sighs] Carmen! Would you draw a bath and get Miss Laurie's room ready? [to Laurie] Go on, Laurie. Why don't you go upstairs?
Laurie looks at Michael in confusion
MICHAEL: It's okay. I'm not goin' anywhere.
Bobby and Meredith share a "raised-eyebrow" look.
BOBBY: And, uh, what is it you want, Mr...
MICHAEL: Guerin. Michael Guerin. Look. Your daughter's been--
MEREDITH Niece. She's our niece, Mr. Guerin.
MICHAEL: Well. Your niece has been through a pretty traumatic experience. Somebody kidnapped her. They buried her in the ground, and we think that he's still after her.
MEREDITH: Oh, well, that's quite a story.
MICHAEL: Why don't Laurie's hospital records list you as the next of kin?
BOBBY: What hospital?
MARIA: The Pinecrest Psychiatric Institute. Brownfield, Texas. Where Laurie's been living for the past, I don't know, what... three... three years?
BOBBY: Oh, well, we haven't seen our niece in years.
MEREDITH: Mm. So someone finally put her away, hmm? Did the aliens chase her there, too? You know, aliens are chasing our family, Mr. Guerin. Don't stay too long. They might get you, too.
Max, Isabel and Liz are walking into the UFO center.
ISABEL: So he has about fifty experiments going on in Frazier Woods, all of which he explained to me in excruciating detail, but the common thread through each one is the water table.
MAX: What about it?
ISABEL: The woods are unusual because the water's so close to the surface. In some places, it's less than three feet below ground.
LIZ: You know, if the parasites really are waterborne--and that's just a theory--they might be in the water table.
MAX: Yeah, but how would alien parasites get in the water table in the first place?
LIZ: [at the computer screen] Okay. Uh, this is a map of the water table for the entire county.
MAX: It looks like a bunch of, uh, rivers.
LIZ: Yeah, that's basically it. The water flows from one area to another through, uh, a system of underground rivers and streams... [Frazier Woods appear onscreen] Frazier Woods.
ISABEL: So the stream passes right underneath the grave site.
MAX: Let's see the rest of that stream.
LIZ: Oh, my God.
LIZ: Do you know what that is? That's Pohlman Ranch.
ISABEL: The crash site.
LIZ: Yeah. The stream passes right beneath it.
MAX: That means that the parasites might have been on our ship.
LIZ: Somebody kidnaps a girl and buries her in the ground so a bunch of alien parasites can... I mean, can do what to her we don't know, and... and then how does he know about these parasites? Is he human, or is he alien? Are these things dangerous to normal people in roswell?
ISABEL: Okay. Where do we go from here, Max?
MAX: I have absolutely no idea.
LIZ: We need help. I wish you guys could just phone home.
ISABEL: [Sighs] Wouldn't that be nice?
BRODY: [walks in on them] Max, could you-- oh. Hello.
MAX: Sorry. We were just, uh, using some of the equipment for a--a science project. I hope you don't mind.
BRODY: Oh, of course not. Uh, can you let me know when you're done?
MAX: We won't be long.
BRODY: Okay. [he leaves]
ISABEL: [looking after Brody] Max, didn't you say that there was an alien at the summit that reached out with his mind and possessed Brody's body?
ISABEL: What if that connection goes both ways? What if we can send a signal back through Brody?
Agent Duff walks in on Valenti.
AGENT DUFF: That rifle was reported stolen by a hunter in Newcastle, Wyoming, in July, and the oxygen tanks used to keep the girl alive were stolen from a hospice in Fort Collins, Colorado, in August. And the plastic box around her head was taken from an industrial supply warehouse in Las Cruces in September.
AGENT DUFF: This is Grant Sorenson's work itinerary. He was in all those places at the times those items were reported stolen.
VALENTI: Chalk up another one for the woodworking detective.
AGENT DUFF: Look, you seem to know more about this than anyone-- why, I'm not sure-- but I need to settle this case, and you want to be sheriff again. You help me close this one, and I will make it my business to get you your job back.
VALENTI: I guess the bats can wait.
Michael and Maria are out at the pool.
MICHAEL: I don't like it.
MARIA: What, the tile?
MICHAEL: No. The fact that we haven't seen Laurie in three hours.
MARIA: [Sighs, then looks up and sees Bobby and some guards approaching] This can't be good.
BOBBY: [handing a package to Michael] This is yours.
MICHAEL: What's this?
BOBBY: And that's all you're going to get. You may look like our father, but we'll fight any further paternity and inheritance claims every step of the way.
MICHAEL: I'm not here to make an inheritance claim.
MARIA: Wait. How big of an inheritance claim are you talking about here?
BOBBY: [to the guards] Please escort Mr. Guerin and his friend off the property.
MICHAEL: No. Wait. Wait a minute. What about Laurie?
BOBBY: We'll take care of her now.
MICHAEL: Hey. No. You don't understand. There are people after her.
BOBBY: Oh, right. The aliens. Well, we'll keep on the lookout for 'em.
MICHAEL: [as the guards lead him away] You can't do this!
The guards escort Michael and Maria to the gate.
MARIA: Now what?
MICHAEL: I don't know... But I promised Laurie I'd protect her, and that's exactly what I'm gonna do.
Back at the UFO center
BRODY: I've been put under hypnosis before. It's never helped me remember anything about my experiences.
ISABEL: This would be different. I have a gift. Um... I'm a little psychic.
BRODY: [looks from Max to Liz in disbelief] Come on...
LIZ: You believe in aliens, but you don't believe in psychic phenomena?
BRODY: I was abducted by aliens. I know they exist.
ISABEL: I know my gift exists.
MAX: Aren't you at least curious?
BRODY: Okay. So what do we do?
ISABEL: Okay. Relax. Close your eyes and clear your mind. Give me your hand. This won't hurt.
BRODY: I just want to warn you, the last time I was put through this, I was a very difficult subject. I just don't want you to be too disappointed when--
Isabel touches his hand with both of hers and the result is instantaneous... they're both thrown across the room. Max runs up to Isabel, as Liz goes over to Brody.
BRODY: You shouldn't have done that.
BRODY: Larek. This body has not been prepared for communication. Its heart has stopped.
ISABEL: [as she gets up] Oh, God. Unh.
BRODY: It may restart once I've released him. What is it you want?
MAX: We need your help. We think that some form of a-- a parasite was released into our earth's ecosystem when our ship crashed fifty years ago. We think they're dangerous--
BRODY: When you say parasite, do you mean the gandarium from your ship have escaped into the ecosystem?
MAX: I don't know. It looks like blue crystals.
BRODY: Earth is in serious trouble. You must leave now.
MAX: What are you talking about?
BRODY: Earth has become infected. You're no longer safe there. Get off the planet now.
MAX: Okay. [Brody collapses] Wait, wait, wait.
ISABEL: Oh, God!
Max starts to heal Brody, but Isabel stops him with a warning look.
ISABEL: No, Max.
Max switches to CPR instead. Brody comes to, gasping for air.
BRODY: What happened?
MAX: You fainted.
ISABEL: I'm so sorry. I had no idea. I'm so sorry.
MAX: You sure you're all right?
BRODY: I think so.
Scene fades out as they help Brody to his feet. The words "TO BE CONTINUED" appear onscreen.