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