Independance Day Entirety
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