Monsters Uncut
TEASER
EXT. ROSWELL GAS WORLD - DAY
A run-down hold over from the '60s. The old '76 ball has
been transformed into a globe. The pumps are shaped like
rockets. The ATTENDANT walks over to MARIA's Jetta that has
just pulled in.
ATTENDANT
(unenthusiastically)
Welcome to Gas World, may I re-fuel you
at no extra charge?
MARIA
(hands him a ten)
The cheap kind.
Maria applies her make-up in the rearview mirros as a tow
truck pulls into the station with a Jeep on the back. She
looks up to see Isabel step out of the truck. Jumpy, she
makes a streak on her face with her lipstick. She wipes it
off as she overhears Isabel.
MECHANIC
That'll be twenty dollars for the tow.
ISABEL
I was only two blocks away.
MECHANIC
Cash.
Angry, Isabel points two fingers at his eyes in a very Vulcan
way. He begins to shake, eyes bulging. Smoke comes out of
his ears and then POOF.
He's incinerated.
Terrified, Maria closes her eyes tight. When she opens them,
she looks back over and sees Isabel, perfectly normal,
reluctantly paying the Mechanic.
She turns to go and sees Maria in her car. Their eyes lock,
then Isabel begins to walk down the street. The Attendant
returns.
ATTENDANT
Would you like me to check your fluids?
MARIA
Would you like me to check yours?
Maria pulls out of the station. She passes Isabel on the
sidewalk, tries hard to ignore her. She glances out her side
mirror at Isabel who now walks down the street in a skin tight,
green alien suit complete with green skin ans hair, sexy in a
hideous way. People scream and flee as she passess.
She points at one with her Vulcan-like fingers until they
start to shake and smoke, just like the Mechanic.
RACK BACK to Maria, closing her eyes tight, shaking the images
away. Sure enough, when she opens them again, Isabel is just
walking down the street, perfectly normal. Suddenly, Maria
has to slam on the brakes to prevent herself from going through
a red light. Isabel stands at the crosswalk, waiting for the
same light, noticing how nervouse she's making Maris.
ISABEL
Nice handling.
MARIA
(embarrased)
Need a rid?
Isabel stares at her, warily. SMASH CUT TO...
INT. MARIA'S JETTA - DAY - ISABEL
...now riding silent shotgun. Maria concentrates on driving.
ISABEL
What year is this thing?
MARIA
'89. Never been towed.
Beat. Isabel leans over toward Maria, scaring her.
MARIA (CONT'D)
It was just a joke --
Maria realizes she was just looking at the glow in the dark
alien key chain dangling from the ignition. She covers.
MARIA
A joke key chain. My mother makes them.
(beat)
I'll tell her to stop.
ISABEL
Go.
MARIA
(rattled)
What?
ISABEL
Green means go. Even where I come from.
Maria accelerates erratically. Isabel feels a bit guilty.
ISABEL
My mother does stupid things, too.
MARIA
She does?
ISABEL
Don't all mothers?
MARIA
I guess.
ISABEL
Right.
MARIA
(agreeing)
Right.
ISABEL
No, right.
Maria pulls a last second hairpin turn. Isabel just rolls
her eyes.
MARIA
(nervously)
Does she know?
ISABEL
That she does stupid things?
MARIA
No, that you and Max are... you know,
like different?
It's not working. No way to have a normal conversation.
ISABEL
You mean horrible disgusting creatures
from outer space who sneak into your rooms
at night and perform excruciating
experiments?
Maria, scared out of her wits nowl, hits the gas instead of
the brake and goes smashing into the car in front of her.
MARIA
Oh my God... Oh my God...
Isabel sees the person get out of the car they hit.
ISABEL
Oh my God...
It's SHERIFF VALENTI who calmly assesses the minor damage.
Maria breathes deeply.
ISABEL (CONT'D)
I'll do the talking.
MARIA
Don't worry, I can handle this.
Maria gets out of the car before Isabel can stop her. She
walks up to Valenti.
MARIA
Sheriff, I can expla--
VALENTI
Miss DeLuca, isn't it?
(she's thrown)
I never forget a face.
(looks at Isabel)
I didn't know you and Miss Evans were
friends.
MARIA
(hyperventilating)
We're not! I mean, I'm just giving her a
ride. I mean, I don't know anything about
her at all.
Valenti just looks at her after this unexpected outburst.
VALENTI
You look a bit pale, Miss DeLuca. Isa
anything wrong?
MARIA
Wrong? No. What could be --
She looks at Isabel in the car who now has slimy, green skin.
Isabel just smiles and raises her fingers up like before,
only this time she points them at Maria. Maria's eyes cross
and she faints dead away, right into Valenti's arms. Isabel
sits in the car, perfectly normal, observing it all.
ISABEL
(why me?)
Oh my God...
FADE OUT.
END OF TEASER
ACT ONE
FADE IN:
CLOSE ON TOPOLSKY'S FACE
...as if suspended in black limbo with a bright light shining
down on her.
TOPOLSKY
(purposefully)
What ---will the future bring?
We PAN around her as she continues.
TOPOLSKY (CONT'D)
In ancient times, man looked to the heavens
to answer this question. Today, our methos
are little more scientific. Although no
one can predict the next big invention or
even the stock market, what we can do is
get more specific. More personal. What
will the future bring for you?
By now we discover she is addressing the student body.
INT. WEST ROSWELL HIGH - GYMNASIUM - DAY
...which doubles as an auditorium for assemblies like these.
Topolsky stands in front of a "FUTURE WEEK" banner.
TOPOLSKY
As the millenium nears, all eyes are on
you. Where will you be in a few years?
She continues on in the background as we discover LIZ and
Maria sitting together, listening.
MARIA
(whispering to Liz)
I'll make it easier for her.
(pointing to various
students)
Tastee Freeze... Denny's... Gas World....
prison.
LIZ'S VOICE
Listening to Topolsky, I suddenly realized
it wasn't my future I was worried about
at all. My plans were already made. And
from an early age, I might add. Everything
was going to go according to schedule, my
future was secure...
She sees MAX sitting next to Isabel across the gym. He looks
up at here, as if he could feel her eyes on him.
LIZ
...if I could just get through my present.
They both look away quickly. Topolsky finishes up.
TOPOLSKY
...and through these profiles, researches
can actually target career fields that
will suit your individual personalities
to a tee. So, over the next few days,
you'll all be coming into my office for
some interviews --
(groans from the students)
Just a series of questions that will
indicate in what area your strengths lie.
MARIA
Is total global annihilation an area?
Maria glances over at Max and Isabel. This time they are
both green and all the kids around them are writhing in pain.
Maria closes her eyes tightly again and shakes it off.
CLOSE ON A FLYER
...advertising the Film Club's "Alien Creature Double Feature"
with a picture of a hideous space monster attacking a young
woman. We PAN over to find Liz and Maria...
INT. WEST ROSWELL HIGH - LOCKERS - DAY
...at their lockers. Maria stares at the flyer.
LIZ
You're being ridiculous.
MARIA
I can't help it. This whole thing creeps
me out. I can't get these visions out of
my head.
Liz rips the flyer off the wall and crumples it up.
LIZ
I told you to eat a banana. The potassium
relaxes you.
MARIA
Nothing relaxes me. Have you heard? We
actually know creatures from another
planet.
LIZ
(looking around)
Shhh...
MARIA
I mean, why are they here?
LIZ
They dont' know why they're here.
MARIA
So they say.
LIZ
I trust Max.
MARIA
But what about Isabel? And Michael. I
thought he was weird before I knew what
he was.
LIZ
He's not a "what," he's a "who."
MARIA
Do you know what they call people like
us? Innocent pawns. And do you know
what happens to innocent pawns? Either
the cops beat confessions out of us with
rubber hoses or they take us up in their
ship, stick us with probes and performs
excruciating experiments on us for the
rest of eternity.
LIZ
Excruciating?
MARIA
Hey, I'm quoting, okay?
LIZ
(squarely)
Maria, the only way this situation is
ever going to get out of control is if
you or I tell anyone about it. And that's
never going to happen. Right?
MARIA
(trying her hardest)
Right.
She looks down the hall way at Isabel who is putting things
in her locker. Isabel looks up, knowing.
ISABEL
(prelap)
She's going to spill her guts.
EXT. WEST ROSWELL HIGH - COURTYARD - DAY
Isabel and Max both have lunches packed from home. Michael
has a can of Coke and isn't really interested in anything
else but the key that he holds in his hand.
MAX
She'll be fine.
Isabel divides their two lunches three ways as she talks.
ISABEL
You should have seen her with Valenti.
She's weak, frightened and doesn't have
the psychological or emotional capacity
to deal with this. Tell him.
She puts a sandwich in front of Michael who ignores it.
MICHAEL
I just think she's kinda nuts.
MAX
(defensively)
Come on --
ISABEL
Okay, maybe she won't talk today. But
how about a year from now? Or ten?
Or twenty? What happens then?
Max can't answer that one.
MICHAEL
(re: key)
I don't plan to be around to find out.
Isabel doesn't like his thinking.
ISABEL
That key is a needle in a haystack,
Michael. You're never going to find --
MICHAEL
How do you know?
Isabel is tense. Max knows he must calm them both down.
MAX
We take it one day at a time, just like
always. And we deal with problems as
they come, not as we imagine them.
Michael looks at him, holds the key up between their faces.
MICHAEL
How can you just sit there and do nothing
when this could lead to everything we
want to know?
MAX
I just want to be safe.
(re: key)
So put that away. Valenti can't know we
have it. Right now it's more dangerous
to us than Liz or Maria.
Isabel notices Maria sitting in a classroom.
ISABEL
She has to be monitored. Kept in line.
MAX
You can't just threaten her.
ISABEL
Why not?
MAX
You've go to try to deal with her.
ISABEL
It's impossible. She's irrational.
They all look over at Maria who just happens to glance out
the window to find them all staring at her. She gets so
nervous she falls out of her chair.
MICHAEL
She is kinda weird.
INT. TOPOLSKY'S COUNSELING OFFICE - DAY
A typical teacher's room. Motivational posters line the wall.s
Topolsky turns around and smiles, friendly into the camera.
TOPOLSKY
Why don't you start by telling me what
your dream job would be?
SERIES OF JUMP CUTS
...where several students answer this question:
GIGGLY GIRL
I wanna be Brad Pitt's love slave.
HEAVY METAL KID
Lead guitar for Metallica.
ISABEL
Fashion model.
RED HAIRED GIRL
Can I say lawyer without you thinking I'm
a bad person?
MARIA
Like I have any skills...
LIZ
A molecular biologist, or, dream, dream,
dream job, head of molecular biology
research at Harvard.
BACT TO TOPOLSKY
...writing their answers down in their
files.
TOPOLSKY
That's fantastic. Now, what job do you
think you'll actually have in ten years?
BACK TO THE JUMP CUTS OF THE KIDS
GIGGLY GIRL
Cheese factory, I guess.
ISABEL
I usually get what I want.
RED HAIRED GIRLS
Cheese factory, maybe in the office part.
MARIA
We could all be dead in ten years.
HEAVY METAL KID
Video store.
(beat)
No, wait. Cheese factory.
LIZ
Molecular biologist. I'd be too young to
be head of research yet, don't you think?
BACK TO TOPOLSKY
...trying to process Liz's reply.
TOPOLSKY
Okay... How about we play a simple
relationship game? Tell me which character
in this drawing is the most like you and
tell me what they're doing at the park.
Liz studies the drawing.
LIZ
(pointing)
Oh, I used to do that all the time.
TOPOLSKY
Build sandcastles?
LIZ
(animated)
I tried for weeks to build one of those
turrets because you can't have a real
castle without a turret. I even made my
Dad take me to the library and get a book
on sandcastles. All I had to do was follow
the directions. It took a few tries, but
once my friends did what I told them to
do, voila! We had a turret.
(realizing)
I mean, it's not like I forced them to ro
anything. It was more like a team and I
was like the team leader.
TOPOLSKY
The one with the plan.
LIZ
Exactly. By the end of the summer I
planned a whole city and the newspaper
came and took a picture of it.
TOPOLSKY
You make lots of plans, don't you?
LIZ
Gotta have a plan.
TOPOLSKY
What about taking life at it comes?
Liz just stares at her for a beat.
LIZ
(decisively)
TOPOLSKY
Sometimes you don't have a choice.
Off Liz as she ponders this, uncertainly.
LIZ
(prelap)
This is the new schedule.
INT. CRASHDOWN CAFE - BACK ROOM - DAY
Liz stands in front of a dry-erase board with an elaborate,
color-coded chart. Maria in uniform and four other waitresses
in street clothes are there.
LIZ
It will make our shifts run smoothly and
efficiently if we all respect it. No
more getting caught short-handed, no more
last minute cashier emergencies. It's
all worked out perfectly right here with
my color-coding system so if you want to
make a change, tell me so I can make sure
nothing disrupts the overall plan. Any
questions?
WAITRESS
Can we go back home now?
LIZ
Yes.
They scatter like cockroaches, leaving Liz and Maria.
MARIA
(re: chart)
Nice colors.
LIZ
(proud)
Thanks. Okay, back to work.
Maria goes back into the cafe through the swinging door, but
one second later comes back in, crashing into Liz.
MARIA
You take the front. I should really do
that can inventory your father --
LIZ
(what the hell?)
Maria...
MARIA
(beat)
She's out there.
LIZ
Who?
MARIA
Barbarella.
Liz looks out, sees Isabel sitting in a booth.
LIZ
Maria, this is crazy --
MARIA
I can't help it, I live my life in constant
fear of her, moment to moment, knowing
each one could be my last.
LIZ
Maria, calm down.
Maria takes out a small brown bottle.
MARIA
Calm down? You see this? Essence of
rosemary oil. Very calming. I've been
taking a frigging bath in it for a week
and all that's happened is that I smell
like a leg of a lamb!
LIZ
Listen to me. You've got to control
yourself.
MARIA
How?! How do you do it?
LIZ
Just make sure this...
(she points to her head)
...is always stronger than this...
(she points to her heart)
You can overcome your fear. Just use
your brain.
MARIA
Easy for you to say, you've had more
practice.
LIZ
Look, we're kind of like stuck with each
other, the five of us. Can't you just
try to be friendly with Isabel? Pretend
she's like your cousin that you can't
stand but you have to be nice to on the
holidays.
Liz stares her down. Maria knows she's right.
MARIA
Sure. Great. Just one big happy family.
She takes a deep breath and heads into...
INT. CRASHDOWN CAFE - CONTINUOUS
...where she immediately locks eyes with Isabel, who sits in
a booth. Maria forces herself to go over. Awkward beat.
MARIA
Hi.
Isabel feels just as awkward but tries as well, remembering
what Max said.
ISABEL
Hi.
MARIA
So...
ISABEL
So... how about some fries?
MARIA
Fries! Great choice. Really great.
ISABEL
Thanks.
Awkward beat. They each force a smile then Maria goes behind
the counter to place the order. The front door opens. Isabel
glances over to find Valenti taking our a handkerchief and
mopping his brow. Why is he here? Valenti looks over, then
moves to the counter.
VALENTI
Coke, please.
Maria turns around, sees him and freaks out, knocking over
the napkin holders she was filling.
MARIA
What are you doing here?
He watches her gather the dispensers then spill them again.
VALENTI
I'm thirsty.
Liz comes out, hears the noise and sees Valenti with Maria.
Maria looks helplessly toward her. Liz casually brings her
hand up to her head and taps it with her finger, reminding
her of their conversation. Maria looks back at Valenti who
has noticed her nerves.
VALENTI (CONT'D)
You do have Coke, don't you?
MARIA
(dry-mouthed)
Yes. Yes, we do.
(beat; hoping)
To go?
VALENTI
That'll be fine.
He watches her hand shake as she dispenses the drink, fumbles
with the lid and spills the straws. She hands it to him with
as much composure as she can muster.
MARIA
Is there anything else I can tell you
today, Sheriff?
Valenti's eyebrows go up, inquisitively.
MARIA
Get! Get you today? Anything else?
VALENTI
Actually...
Maria practically holds out her wrists for the cuffs.
VALENTI
I need your insurance information for
that little fender bender we had this
morning. City regulations.
He hands her his card. Maria looks at Isabel who stares back
at the transaction. Valenti notices.
VALENTI
Is everything all right here?
MARIA
Of course it is. Sir.
VALENTI
You seem to be...
He glances at Isabel.
VALENTI
...worried about something.
MARIA
Who me? No. Nothing. Happy as a clam.
But his eyes see something else.
VALENTI
(beat)
I'm here to protect you. From anything.
Do you understand?
She looks up to him now like he's John Wayne, finding herself
nodding in trust. Liz appears at her side.
LIZ
Time for that can inventory, Maria. Can
I ring this up for you, Sheriff?
Valenti looks at them both, then hands Maria a dollar and
locks eyes with her once more.
VALENTI
Keep the change.
Valenti exists past Isabel, nodding. Off Liz as Isabel's
stare sends Maria running to the back.
LIZ
One big happy family.
FADE OUT.
END OF ACT ONE
ACT TWO
FADE IN:
EXT. WEST ROSWELL HIGH - DAY
Isabel, Max and Michael walk as they talk.
ISABEL
One more day, tops, before she cracks and
we're all whisked off to some government
science lab for the rest of our lives.
MAX
Maria wouldn't do that to us.
ISABEL
How do you know?
MAX
Liz trusts her.
ISABEL
You didn't see her hyperventilating into
a take-out bag after Valenti left.
MICHAEL
And I suppose you had nothing to do with
that?
ISABEL
I was nice. I order fries. She's a weak
link, Max.
MAX
All right, I'll talk to Liz about her,
find out where her mind's at.
ISABEL
Good. Because there's always my way of
getting into people's minds if you don't.
MAX
(warning)
I said I'll talk to Liz.
ISABEL
When?
MAX
After my career week interview.
MICHAEL
You're actually going?
MAX
It's mandatory.
MICHAEL
So's math but you don't see me there, do
you?
CLOSE ON THE PLAYGROUND DRAWING
We see a boy standing behind a tree, looking at the others.
MAX (O.S.)
I don't know... I guess the kid there...
INT. TOPOLSKY'S COUNSELING OFFICE -DAY
It's Max's turn. He is very guarded.
TOPOLSKY
Are you playing a game with your friends?
Hide and go seek?
MAX
No.
TOPOLSKY
Do you like games?
MAX
Not really.
She looks into his eyes, as if searching.
TOPOLSKY
Do you like answering these questions?
He looks back, giving nothing away.
MAX
Not really.
TOPOLSKY
Sometimes it's not a bad thing to open
up. Especially if you find the right
person to talk to.
The CLASS BELL RINGS. They stare at each other for a beat.
MAX
I'm late for class.
She smiles, back to her cheerful self.
TOPOLSKY
We'll continue another time.
She watches him leave, then turns to her file.
CLOSE ON TOPOLSKY'S FILE
Next to Max's name she writes "HIDING SOMETHING." Next to
Michael's name she writes "ABSENT."
CLOSE ON A MOLECULAR MODEL
...being held by MS. HARDY, the biology teacher.
MS. HARDY (O.S.)
Outside forces...
INT. BIO LAB - DAY
She moves through the classroom as she talks, passing students
who are preparing their labs by filling sausage casings with
molassess, then suspending them in water. Max and Liz are
back to back, working separately.
MS. HARDY (CONT'D)
Nothing in the universe is immune to them.
If no man is an island, then no molecule
lives in a vacumm. Heat makes them expand,
cold forces them together. They even
affect each other.
Max and Liz both reach for the same bottle of molasses at the
same time, almost knocking it over. Liz makes the save.
LIZ
Here, go ahea.
MAX
Ladies first.
She smiles. liking the refrence, then starts to pour the
molasses into her casing. It's awkward and messy.
MAX
I'll help you if you help me.
LIZ
Deal.
They work as messily together but manage to get the job done
as Ms. Hardy continues, their hands and arms interwined,
bringing them closer together than they should be.
MS. HARDY
make sure to keep a control for comparison.
I'll be coming around individually to
check your work.
They hand their molasses sausages, one in ice water, one in
boiling water and one in lukewarm water. Then they watch as
they grotesquely expand and contract.
MAX
I'll never eat my grandmother's molasses
cookies again.
LIZ
(without thinking)
You have a grandmother?
MAX
(without thinking)
Sure, she lives in Boston.
LIZ
But, I though you didn't know where you
came...
Max looks at her, realizing what she meant. And she looks
away guiltily, realizing what she meant.
LIZ (CONT'D)
...from.
MAX
(explaining)
My father's mother.
LIZ
(embarrassed)
Of course. Your grandmother.
Max want to talk more privately. He puts his hand on the
edge of the tabel where Liz's notebook sits and causes the
edge under the book to buckle, sending it to the ground. Liz
goes under the table to pick it up and he follows her.
MAX
(whispering)
Look, I know this is all really strange --
LIZ
No, not at all --
MAX
And keep a secret like this is a lot of
pressure --
LIZ
(looking around)
Max, I would never --
MAX
I know. Never on purpose. I believe
that.
(beat)
But what about Maria?
LIZ
Maria? Maria? She is completely
trustworthy. Like a fortress. The Fort
Knox of friends.
MAX
Isabel said she was a little nervous with
Valenti this morning at the
Crashdown --
LIZ
PMS. Basket case once a month.
MAX
Maybe you could talk to her --
LIZ
We all have our bad days, every once in a
while. I mean, she's only human, right?
Again, wishing she could put the words back in her mouth.
LIZ
I can handle this. She can hadle this.
I'ts absolutely not a problem.
She stands up confidently but catches her sleeve on her
experiment, sending it crashing to the ground. Ms. Hardy is
right there.
MS. HARDY
You seem to have lost your control.
LIZ
(flustered)
Absolutely not a problem.
Off Liz as she tries to clean up the mess.
INT. CRASHDOWN CAFE - DAY - CLOSE ON THE PASS-THROUGH
...where many orders are waiting to be picked up. The cook's
hand RINGS the BELL impatiently as Maria rushes up.
MARIA
Cut it out with the bell, okay? I'm like
flying solo here.
She takes several plates over to a booth.
CUSTOMER
Miss, may I have some ketchup, please?
MARIA
Right over there behind the counter.
CUSTOMER
Why are you the only one here?
MARIA
Because Karen thought her color was purple
and Stephanie thought her color was blue
and Agnes couldn't read the schedule at
all so she just went home.
She rushes over to the resgister where ARLENE, a tourist from
New York waits with three small children. Her son, COREY,
waves around an annoying alien ray gun, shooting at everything
he sees.
ARLENE
Corey! Stop it with that thing or we're
not going to the museum.
COREY
Must kill all aliens.
He swings around and points the gun right at Max who has just
walked in. He fires and Max flinches slightly, then smiles.
He looks at Maria who is visibly upset. Arlene gets mad.
ARLENE
What did I say?
MAX
(to Maria)
Liz here?
MARIA
(nervously making change)
If she were, I'd kill her.
MAX
Tell her I just wanted to see how she was
doing after bio--
Arlene's youngest starts to cry because her brother is pointing
the ray gun in her face. Arlene picks her up.
ARLENE
(to Max and Maria)
Excuse me, but there's nothing scary in
that UFO Center, is there? I mean...
(whispering)
...there's nothing real or anything...
MAX
I've never really been in --
Maria, flustered, hands her the change.
MARIA
(adamant)
Of course not. What would ever make you
think that? There's not such things as
aliens, especially anywhere around here.
COREY
That's not what it said on the menu.
He shoots his laser gun at Maria.
ARLENE
Knock it off!
They leave and Max studies Maria.
MAX
Are you okay?
MARIA
Of course I'm okay! Don't I look okay?
MAX
Well, you just short-changed that woman
ten dollars.
MARIA
Oh, God...
She grabs a ten and knocks on the window to no avail.
MARIA
I can't leave, I'm the only one here!
Max can't help noticing how jumpy she is.
MAX
Take it easy, I'll take it to her.
MARIA
Are you sure?
MAX
Why not?
CLOSE ON AN ANIMATRONIC ALIEN
...your typical likeness, four feet tall, large bald head,
smooth grey skin, almond-shaped eyes.
ANIMATRONIC ALIEN
Hi! I'm AL! That's short for Alien.
Welcome to the Roswell UFO Center and
Research Library!
INT. UFO CENTER - ENTRYWAY - DAY
Max stands next to the plastic alien, staring at it
uncomfortably as it talks. They are in a dark hallway with
black lights for mood, in front of an automatic door.
ANIMATRONIC ALIEN (CONT'D)
Inside these doors lie the secrets and
mysteries of the universe. Are you ready
to find out?
Max just stares at the little thing until a loud HISS startles
him and a billow of smoke rises from the automatic door as it
slides open, revealing...
THE MAIN MUSEUM
...a large, high-ceilinged room with
exhibits and dioramas. Max looks around,
half in fear, half in disbelief. Exhibit
titles such as "Who Are They?", "Where
Did They Come From?", "Are They Still
Here?" capture his attention. He ventures
a step or two further until...
STRANGE VOICE
(accusing)
Stop right there.
He turns around to find a diminutive woman in her sixties
wearing a Century 21-type jacket with a flying saucer insignia
on it. This is TOOTS. She gives him the once-over.
TOOTS
I know what you are.
Max is nervous, wants to run. She walks right up to him,
unafraid, her eyes boring into him.
TOOTS (CONT'D)
You're one of those kids who thinks they
can just sneak right in without paying,
aren't you?
MAX
(relieved)
How much is it?
TOOTS
18 and under, two fifty.
(he pays)
Please proceed to the tour already in
progress in the diorama area.
(beat)
I've got my eye on you.
He nods at her and slowly finds his way to where a man, mid-
forties, also wearing a nifty UFO Center jacket, is lecturing
to a small crowd as they pass life-sized recreations of the
events he describes. This is MILTON ROSS, curator of the
museum and true believer, with the hint of a William Shatner
delivery. Homage? Probably just over-acting.
MILTON
...and so, on July 4th, 1947, after all
the fireworks had been shot off, after
all the apple pie had been eaten and while
good Americans like you and me were gettng
ready for a good night's sleep...
(dramatic pause)
...They came. The evidence suggests that
they had been studying us for quite some
time. To what end? We'll never know.
But on that fateful night, something went
terrigly wrong and one -- though some say
more than one of these alien crafts --
crashed onto our planet, starting what
was to become the most elaborate cover-up
mankind had ever known.
The crowd follows Milton, allowing Max to see the diorama. A
flying saucer imbedded into some Styrofoam rocks with alien
bodies strewn about. He stands there alone for a beat.
TOOTS
(out of nowhere)
Move along!
MAX
Sorry.
He goes to the next diorama, an autopsy room with an alien
strapped to the table. Milton's melodrama continues. Tourists
take turns photographing themselves in the display.
MILTON
There are eyewitness accounts from people
still living in Roswell today of debris
fround in the desert made of strange metal,
inscribed with purple heiroglyphs. There
are others who, on their deathbeds, spoke
of being present at alien autopsies and
of the threats that were made to their
lives and the lives fo their families
should they ever speak of what they saw.
(beat)
Imagine, ladies and gentlemen, living
your whole life with this terrifying
secret, not even being able to share it
with your loved ones for fear of their
safety. I don't think anyone here today
would be strong enough for that.
Max swallows hard.
MILTON (CONT'D)
Now, are there any questions before we
enter the video theater?
PRE-TEEN BOY TOURIST
I heard they found some fo the aliens
still alive and tortured them until they
gave us all their technological secrets
and that's how we have cell phones and
computers and velcro today.
MILTON
There are many theories, son. Many
theories.
WHITE TRASH WOMAN TOURIST
They ever come back again? You know, like to rescue the ones
in the crash?
MILTON
There have been sightings in this area on
a regular basis since that night.
Adn of course there was the 1978 Burger Kind incident when
the young man operating the drive-thru window swore he had
contact through his headphones.
The crowd murmurs. Max clears his throat, not really sure he
should do this, but here it goes.
MAX
What about 1959?
Milton's head snaps up.
MILTON
Who said that?
Milton cranes to spot the asker. Max immediately blends into
the crowd, sorry now that he ever said anything. Milton scans
the tourists with his eyes.
MILTON
Let's move on to the documentary portion
of our tour. Right this way.
As the tourists file passed him, Milton notices Max leaving
the group and heading toward the exit. Max, just wanting to
get out, doesn't notice Arlene's toddler under foot until he
almost runs over her. He stops to make sure she's all right.
ARLENE
Wendy! Do I need to get a leash?
Arlene scoops the child up and Max remembers the ten dollars.
MAX
(quickly)
This is yours. You left it at the cafe.
ARLENE
Hey, thanks. Very friendly people here.
Max turns to go and comes face to face with Milton.
MILTON
(conspiratorially)
What do you know about 1959?
MAX
(beat)
Is there something to know?
MILTON
Come back tomorrow. We can talk more.
Toots yells over from her station.
TOOTS
Milton! Start the video!
MILTON
Yes, Mother.
(to Max)
Tomorrow. I have something you may be
interested in.
Max watches Milton hurry back tot he video theater then
approaches the same door he entered through.
TOOTS
Entrance only. Exit through the gift
shop, and don't even think about
shoplifting. Oh, and please, come again.
Off Max as he reads the inscription painted on the wall above
the door:
"The Answers Are Out There" FADE TO...
THE MILKY WAY
...visible in the clear New Mexican night sky. WE TILT down
to find...
EXT/INT. MAX'S ROOM - NIGHT
Max stargazing in the window seat of his bedroom. It's clean,
uncluttered, as if he rented instead of owned.
ISABEL (O.S.)
Looking for something?
He turns to find her next to him.
MAX
Just thinking...
She sits on the other side of the window seat.
ISABEL
About what?
MAX
What if we had another Grandmother out
there somewhere, waiting for us to come
home?
(beat)
Or another Mom and Dad?
She takes a beat. She's thought about this, too.
ISABEL
What if there wasn't?
MAX
You're afraid of what Michael might find
if he keeps looking, aren't you?
ISABEL
Aren't you?
MAX
But what if there was someone who did
know something? Would you go after it?
ISABEL
I like things the way they are.
(beat)
Did you talk to Liz about Maria?
MAX
She says she's fine.
ISABEL
That girl is the antithesis of fine.
MAX
You promised you'd give her a chance.
ISABEL
I tried. It's her. She won't let me in.
I'll just have to get there another way.
MAX
(catching on)
Don't do it, Is.
ISABEL
She won't even know.
MAX
Remember when you did it to Mom? She
wouldn't go back to sleep for a week.
ISABEL
I've been practicing.
MAX
Oh, great...
ISABEL
At least I only talk to people when they're
asleep.
MAX
Isabel --
ISABEL
'Night, Max.
She leavesd before he can protest further.
INT. EVANS HOUSE - ISABEL'S ROOM - NIGHT - CLOSE ON THE
ROSWELL HIGH
YEARBOOK
...as we flip through the pages, landing
on Maria's picture. Isabel lies in her
bed. The clock reads 3:12 A.M. Isabel's
finger touches Maria's picture.
INT. MARIA'S ROOM - NIGHT
...where Maria is fast asleep.
BACK TO ISABEL
as she lays her head next to the picture,
closes her eyes and we see their faces
together. There is an ENERGE EFFECT,
like lightning. Only we know there wasn't
a cloud in the sky.
BACK TO MARIA
...as we see a smiliar ENERGY EFFECT on her.
We are suddenly...
INT. AIRPLANE CABIN - DAY
Liz and Maria, in the airline version of their cafe uniforms,
hair done in the 50's stewardeness style push a cart down the
aisle.
IRATE VOICE
Gimmie more ketchup!
LIZ
Some people are just pigs.
MARIA
Tell me about it.
She takes a cafe plate out of the cart with a big, greasy
cheesburger and fries on it and puts it down in front of a
live pig sitting in the middle seat between two passengers.
The move to the next row. Maria looks down to find Max,
reading a magazine and Michael, wearing a tuxedo.
MARIA
Coffee, tea or --
Isabel suddenly materializes into the aisle seat next to them.
She looks slightly different than anyone else, shinier, more
electric. She wears her pajamas. Maria recoils.
MARIA
How did you get on this flight?
ISABEL
(shows Maria's photo)
I bought a ticket. So we could talk. I
believe I ordered the fries.
MARIA
Well, ba-bye. This is my dream.
ISABEL
Sorry, I control myself in here. One of
those extra-terrestrial perks.
MARIA
Well then, tell them to get off.
Isabel notices Max and Michael.
ISABEL
(to Michael)
What are you wearing?
MARIA
I like him in that, okay? It makes me
less afraid?
ISABEL
Afraid of what?
Maria looks over at Michael. He MORPHS into the grotesque
"Alien" monster from the Film Club Flyer. Max just continues
to read a magazine, but he image really rattles Isabel. One
of Michael's long, slimy tentacles reaches out and grabs
Maria's wrist. She screams. The entire plane stares at her.
MARIA
Help! I have to tell the Captain.
She werestles herself away only to come face to face with Liz
who blocks her from the cockpit with the cart.
LIZ
You're not telling anyone.
Maria pulls Valenti's card out of her pocket.
MARIA
Captain!
Valenti steps out of the cockpit in full pilot's dress.
VALENTI
You look a bit pale, Miss DeLuca.
Maria pushes Liz and the cart aside and heads toward Valenti.
Isabel comes between them.
VALENTI (CONT'D)
I didn't know you and Miss Evans were
friends.
MARIA
We're not! She's a horrible distusging
creature from outer space.
Isabel looks almost sad. Maria sees the cabin door suddenly
open, panics.
Isabel brings her to the edge, no-nonsense.
ISABEL
Are you afraid now, DeLuca?
MARIA
Yes...
ISABEL
Good. Remember this feeling the next
time you think about talking to Valenti.
(beat)
Anything can happen if you're not careful.
Isabel blows on Maria's face as if blowing a feather. She
falls out of the plane. We hear a SCREAM and at THUD.
INT. MARIA'S ROOM - NIGHT
Maria falls out of bed, the ENERGY EFFECT leaving her body.
INT. ISABEL'S ROOM - NIGHT
The ENERGY EFFECT goes backwards now, like volts going back
into her body. She comes out of it exhausted.
INT. MARIA'S ROOM - NIGHT
...on the floor. She breathes hard, panicked, then realizes
she's safe in her own room. PUSH IN to the clock. 3:13 A.M.
END OF ACT TWO
ACT THREE
FADE IN:
INT. LIZ'S ROOM - MORNING
Liz gets her books together for school as Maria, in cafe
uniform, applies cover-up under her eyes in the mirror.
LIZ
You really dont' have to be so nervous
about her, you know.
MARIA
Oh, like you were on the flight?
LIZ
In fact, I think you should just try to
calm your nerves in general.
MARIA
You're not listening to me, are you? It
was like the dream part was a dream but
the Isabel part... it was so totally real,
like she was just stnding there, scaring
the life out of me, just like normal.
LIZ
The less sleep you get, the more paranoid
you become. They've done studies.
MARIA
I am not paranoid.
LIZ
What's that behind you?
MARIA
(whips around)
Where?!
LIZ
(point proven)
I've got to make up my bio lab. Just
don't let your brain fail you. When that
happens, then Max can start worrying.
She leaves and Maria follows.
MARIA
Max? Max is worried?
INT. LIZ'S HOUSE - STAIRS - CONTINUOUS
...that lead down into the restaurant, Maria chases Liz.
MARIA
He's worried about me, isnt' he? They
all are, aren't they? Now what am I going
to do? She pushed me out of a plane, and
now she's out there having breakfast like
some kind of stalker, waiting for me to
slip up so she can incinerate me.
Liz is now at the back door.
LIZ
You're not going to slip up. Remember in
sixth grade when I accidently sat on Nancy
Cremo's popsicle stick model of the Lincoln
Memorial and you saw me do it, but you
covered for me?
MARIA
(beat)
I told her.
LIZ
(outraged)
You told her?
MARIA
See? I'm a gut-spiller, a sparrow.
LIZ
Canary.
MARIA
Whatever.
LIZ
If I don't make my bio lab up, my grade
will slip half a point.
MARIA
God forbid you should get an A-minus.
LIZ
(torn)
Stay strong.
Liz exits out the back door leaving Maria alone.
MARIA
Stop saying that!
INT. CRASHDOWN CAFE - DAY - CLOSE ON A COUPLE
...leaving a booth behind Isabel who is eating breakfast.
She looks tired, sporting a pair of sunglasses like someone
with a hangover. Maria goes to the table the long way,
avoiding her, and starts bussing the messy dishes.
Isabel smiles, enjoying what she is about to do.
ISABEL
Some people are just pigs.
Maria almost drops the dishes, remembering the line from her
dream.
ISABEL (CONT'D)
Can I hve some more coffee? I fell a
little jet-lagged this morning.
She rushes the dishes to the waitress station and Isabel
smiles.
MARIA
(to herself)
Strong, I'm strong.
She grabs a wet cloth and heads back over to clean the table.
There is already a new customer sitting there wearing a
baseball cap and t-shirt, his back to her as she approaches.
MARIA (CONT'D)
Welcome to the Crashdown Cafe, can I take
your --?
She looks down to find Valenti smiling at her.
MARIA
(feaked)
Captain! I mean, Sheriff. I mean, what
are you doing here?
VALENTI
I enjoyed the Coke so much, I though I'd
give breakfast a try. Anything special
you'd like to tell me about?
MARIA
No!!
He knows what he's doing to her and he takes his time.
VALENTI
It says on the board there you've got
corned beef hash.
MARIA
Right. Sorry. The Heavenly Hash special.
VALENTI
Is that what you'd recommend?
MARIA
Absolutely.
VALENTI
Well, you seem to know a lot about what
goes on around here so I'll trust your
judgement.
Maria is dying on the inside, knowing Isabel is hearing this.
MARIA
Great. Heavenly Hash.
(weakly; hoping)
To go?
VALENTI
I'll eat it right here this time. Byt he
way, the insurance company took care of
everything. It's good to have a strong,
dependable institution like that on your
side. Lets you sleep better at night,
huh?
Maria walks away, looking ill. Valenti smiles, satisfied.
INT. WEST ROSWELL HIGH - BIO LAB - DAY
Liz is alone, absently redoing her molasses experiment. She
makes a mistake, starts again. Ms. Hardy comes over.
MS. HARDY
You know, we both know you understand the
fundamentals of this experiment.
You've never had trouble with a lab before.
LIZ
I'm sorry, I just --
MS. HARDY
Don't worry about it. You're the most
conscientious student I have. So, instead
of redoing this on, I've prepared a quiz
on the entire semi-permeable membrane
unit for you. Just answer these questions
and we'll consider it another "A," okay?
Liz looks at the test Ms. Hardy hands her with dread.
INT. CRASHDOWN CAFE - DAY- CLOSE ON THE LAST BITE OF HASH
...as Valenti pushes it on to his fork and eats it. We PULL
BACK to include Maria, right there waiting with his check.
MARIA
Thank you for dining at the Crashdown.
Please pay up front.
She turns to make a clean getaway but...
VALENTI
How's your neck doing?
MARIA
My neck?
VALENTI
That was quite a hit you took from that
car the night of the festival.
Maria sees Isabel glancing at her. Warning her.
MARIA
Oh, that? That was nothing.
VALENTI
I never got to follow up with you about
that accident.
MARIA
Totally unnecessary --
He stands, his commanding presence felt even out of uniform.
VALENTI
You seem to be having a lot of accidents
lately. Why don't you come by my office,
say tomorrow about this time? Bring your
parents if you'd like.
We'll have a good, long talk.
(PAYING)
Thanks for the tip. You're a real smart
girl. Best hash I ever had.
He leaves and we find Isabel who looks much less confident
than before. Is this the beginning of the end?
EXT. UFO CENTER - DAY
Max watches from a distance as Miltong passess out coupons to
passers-by.
He wants to go back but can't bring himself to do it. He
turns and walks away.
TOPOLSKY
(prelap)
Are you having a hard time with something
in your life right now, Max?
INT. TOPOLSKY'S COUNSELING OFFICE - DAY
Max is back on the couch, as unrevealing as ever.
MAX
No, not at all.
TOPOLSKY
Because some adopted kids go thorugh tough
times right around this age. You know,
identity issues, things like that.
MAX
What does that have to do with my career
path again.
TOPOLSKY
(sincerely)
I'm just trying to get to know you a little
better. I took a look at your school
record, but it doesnt' realy tell me much.
No clubs or sports or after-school
activities.
MAX
I usually go home to study.
TOPOLSKY
Yes, you're an excellent student. Are
you thinking about college?
MAX
It's a little soon for that.
TOPOLSKY
Two years? You don't think that far ahead?
MAX
I like to live in the present. You never
know what's going to happen next.
TOPOLSKY
Sometimes nothing happens.
(beat)
Unless you make it happen.
INT. BIO LAB - DAY
Where Liz is struggling with her quiz. She HEARS a TAP but
doesn't pay attention to it. Then ANOTHER TAP. Annoyed, she
glances out the window into the courtyard. Maria is standing
there flailing her arms, trying to ge Liz's attention. She
beckons Liz to come out immediately. Liz indicates her test.
Maria writes on her notebook in big letters "NOW." Liz walks
up to Mrs. Hardy's desk.
LIZ
I'm finished.
Ms. Hardy notices the scratch-outs on her test.
MS. HARDY
Are you sure?
EXT. COURTYARD - DAY - CLOSE ON MARIA
MARIA
Dead, I am so dead, we are so dead, all
of us, D-E-A-D, dead.
Liz just looks at her.
LIZ
Maybe you're over-reacting.
MARIA
Hello? You're acting like one of those
slasher movie people who don't believe
their best friend and end up with a hatchet
in their head. I am being brought in for
questioning, as in Spanish Inquisition,
and I'm tired of you not taking me or my
paranoia seriously! Now maybe this is
something that brilliant people like you
can handle with their hands tied behind
their back but regular people like me are
having some major difficulties here. So
what do we do now?
LIZ
(beat)
We prepare.
INT. TOPOLSKY'S COUNSELING OFFICE - DAY
Where she continues to try to draw Max out.
TOPOLSKY
I'm going to read you some career areas
and you stop me when you hear one that
interests you, okay?
(Max nods)
Law..Medicine..Business...Civil
Service...don't forget to stop me.
MAX
I won't.
Engineering...Architecture...Armed Service...Sports...nothing
yet?
MAX
They all sound interesting.
TOPOLSKY
But nothing you'd commint to?
MAX
Not yet.
TOPOLSKY
What about when you were a child? What
did you dream of becoming, say, when you
were five?
(beat; no anwer)
You don't remember anything before you
were adopted, do you?
(beat)
Were you ever in therapy, Max?
The CLASSS BELL RINGS. There's a long pause.
MAX
Law.
TOPOLSKY
What?
MAX
My father's a lawyer. That's what I want
to go into.
Another long pause, Topolsky sure he's hiding something now.
TOPOLSKY
Your future's in your own hands, Max.
Remember that.
Max nods, then leaves. Topolsky gathers her student files
making a big pile, then takes Max's file and puts it aside.
INT. UFO CENTER - DAY
...as Max enteres through the automatic door.
TOOTS
You again. It's still two fifty.
MAX
(paying)
Is Milton here?
TOOTS
It's his quiet time. He gets
overstimulated very easily.
MAX
I just need a minute.
TOOTS
It's the door up those stairs.
She points to a room upstairs with a mirrored window.
TOOTS (CONT'D)
Wait! It's Antennae Day.
She hands him a headband with two silver balls attached by
springs. He takes them, walks up the stairs and knocks.
MILTON (O.S.)
It's quiet time, Mother.
MAX
It's Max Evans. From yesterday.
The door opens in a flash, revealing Milton in a short sleeved
shirt, his tie a little loose.
MILTON
Come in.
He practially pulls him into...
INT. MILTON'S OFFICE - CONTINUOUS
...a small, clutterd room trying to be important. The mirrored
window looks out over the museum.
MILTON
Like it? Just like your finer Vegas
casinos. Gotta keep your eyes on the
action at all times, especially with my
archives so close.
MAX
Archives?
MILTON
Only the most complete collection of UFO
findings ever compiled.
MAX
(beat)
Including information from 1959?
MILTON
All right, cut to the chase, kid. Don't
tease me. What do you know?
MAX
(carefully)
I thought you had something to show me.
MILTON
(beat)
Fine. If that's the way you want to play
it...
Miltong goes to his desk and takes a crowded key chain out of
his pocket.
Unfortunely, the chain is rather short and he has to put his
hip close to the drawer in order to unlock it.
MILTON
I'm about to show you unmitigated proof
that aliens walk this earth.
He presents Max with a photo as if it were the Holy Grail.
CLOSE ON THE PHOTO
...of a pudgy young boy outside an ice cream parlor. A shadow
is thrown across the ground from behind the building looking
just like one of the plastic aliens from the museum.
MILTON (CONT'D)
I was that boy. Only six and that close.
Max is disappointed but not surprised.
MILTON
Ever since then I've spent my entire life
in search of aliens and I swear on my
mother's grave that one day I will stand
face to face with one of these creatures
and say... "I told you so." Now... what
do you know about 1959?
MAX
Only that there was a sighting near this
ice cream parlor.
MILTON
Damn, I thought you had something.
(beat)
Look, I know you're hooked. I can see it
in your eyes. I could use a guy like you
around here. Minimum wage, long hard
hours, but imagine the rewards when we
make the discovery of a lifetime. What
do you think?
MAX
I think you're very close to the truth...
but I'm not looking for a job right now.
TOOTS (OVER LOUDSPEAKER)
The tour is commencing without the guide.
MILTON
You'll be back. I can smell it.
As they leave the office, Milton closes the door behind them,
revealing a poster of a manacing looking alien with the caption
"Wanted: Dead or Alive."
FADE OUT.
END OF ACT THREE
ACT FOUR
FADE IN:
INT. LIZ'S ROOM - DAY- CLOSE ON A LAMPSHADE
... being removed, revealing a glaring bare bulb. We see
that Maria has done the same thing to two other lamps. Liz
walks in with some sandwiches.
LIZ
What are you doing?
MARIA
They use bare bulbs to wear suspects down
in interrogations.
Liz puts the lampshades back on as she talks.
LIZ
You're only a suspect if you act like a
suspect.
MARIA
Oh, really? Is that what you've found
all the time you've been questioned by
the police?
LIZ
The only way you're going to get through
this if you stick to the plan we came up
with the night of the Crash Festival.
MARIA
Nice of you to remember.
LIZ
You got tapped by that car, blacked out
and didn't see a thing that happened after.
End of story.
MARIA
The sheriff's smart, Liz. He's going to
find out the truth.
(beat)
And maybe that wouldn't be so bad.
(grasping)
He's Kyle's dad. He said he was here to
protect us.
LIZ
Do you really think we need protection
from Max and Isabel and Michael?
MARIA
(serious now)
Yes. May be. I don't know... I just
wish you'd stop trying to control the wy
I feel. I'm not you, Liz.
(beat)
I have to do what I think is right.
Off Liz as she suddenly realizes that Maria really might tell
Valenti everything.
INT. TOPOLSKY'S COUNSELING OFFICE - DAY
Isabel is sitting across from her now.
TOPOLSKY
How well do you think you know yourself?
ISABEL
Very well.
TOPOLSKY
Well, then, you might be a little surprised
at how your computer profile turned out.
You said in our first meeting that you
wanted to be a fashion model.
ISABEL
You work with what you're given.
TOPOLSKY
That's quite a jet-set career for someone
who...
(READS A PRINOUT0
..."puts family first. Craves security
and stability. Leans towards caregiving
fields."
ISABEL
I've never trusted computers.
TOPOLSKY
Think about who you are, Isabel, and what's
important in your life. I'd hate to see
you lose something that means so much to
you.
Off Isabel, her hard edge penetrated, trying not to show it.
INT. ISABEL'S ROOM - NIGHT
This time she's the one looking at the stars. She's holding
a picture of her family. She takes it out of the frame then
starts to put it inside a backpack when Max startles her.
MAX
Going somewhere?
ISABEL
Only if we have to.
MAX
We can trust her.
ISABEL
She's going to tell Valenti. I saw it in
her dream.
(beat)
We're not like them, Max. We can't trust
anybody but ourselves. We didn't
even tell Mom and Dad --
MAX
To protect them.
ISABEL
Maybe just to protect our selves. Maybe
we're afraid they won't love us anymore.
That they'll think we're freaks. Monsters.
That's how Maria sees us. I saw it in
her dream.
MAX
Dreams aren't real, Isabel.
She looks down at the picture in her hands. Her 15th birthday.
Mom, Dad and Max with their arms around her in front of a
cake.
ISABEL
Yeah. I'm beginning to realize that.
MAX
I have to believe we'll be okay.
ISABEL
Since when do you have so much faith in
the future?
Off Max, not wanting to believe her fears.
INT. CRASHDOWN CAFE - KITCHEN/BACK ROOM - MORNING
Liz prepares a glass of Alka-Seltzer for Maria who looks about
twelve years old in the conservative clothes and hairstyle
that Liz has made her wear.
No make-up either.
LIZ
Okay, one more time.
MARIA
I feel like a nauseated nun.
She drains the glass.
LIZ
Exactly the image we want to portray.
Now, what did you see in the parking lot
that night?
MARIA
Nothing, just headlights.
She burps, hands the glass back to Liz and goes over to the
schedule board as Liz keeps talking.
LIZ
Perfect. And how did that handprint get
on you.
Maria starts to erase her name from the schedule.
MARIA
I don't know, I was unconscious.
LIZ
Right. And... what are you doing?
She writes her name in another slot, changing things around.
MARIA
Answering your stupid questions.
LIZ
You can't just change my schedule around.
MARIA
News flash! People's lives don't always
go according to your schedule.
Patty and I switched shifts in case I end up in prison for
the rest of my life.
Liz grabs the pen and eraser from her, a little more upset
than she ought to be.
LIZ
Then you tell me and I change the schedule.
The schedule is here to keep things under
control. If people just go ahead and
change the schedule whenever they feel
like it, then what's the point of having
a perfect plan to begin with? We might
as well all go through life blindly, never
knowing what's going to come next, just
waiting to have the rug pulled out from
under us any second. One minute we're
fine, and the next minute the whole world
is turned upside down because someone
changed the schedule!
(she starts erasing)
I mean, why bother planning for college
or a career or even a boyfriend, when the
whole thing can disappear just like that?
She looks at the empty board, realizing what she's just done.
Maria is suddenly calm after watching her friend lose it.
MARIA
You're just as scared as I am, aren't
you?
Off Liz, not wanting to admit she's right.
EXT. ROSWELL GAS WORLD - DAY
The Evan's Volvo pulls into the station with DIANE EVANS behind
the wheel.
After a beat, Isabel gets out, carrying the backpack we saw
the night before. She comes around to the driver's window,
leans in and hugs her mother. Diane kisses her on the cheek
then, realizing she got lipstick on her daughter, wipes it
off with her hand. The car pulls away and Isabel watches it
go. She turns around to wipes away the tears in her eyes
only to find Maria standing there. They are both surprised
and uncomfortable sharing this moment.
ISABEL
I hate good-byes.
The Mechanic comes up and hands them their keys.
MECHANIC
(to Maria)
Replaced the headlight and popped out he
fender.
(to Isabel)
Fixed the leak in your radiator hose.
(to both)
You can pay at the cashier, ladies.
Maria looks over at Isabel again. A different Isabel. A
vulnerable Isabel.
Isabel looks back, not challenging any more through fear but
through compassion.
INT. SHERIFF'S STATION - DAY- CLOSE ON A SHERIFF'S EMBLEM
...as Maria walks through the door, not wanting to be there.
She hears a commotion towards the back. She looks over, not
believing things could possibly get any worse as she spots
her mom, AMY DELUCA, talking to Valenti.
She's the late 30s version of Maria, attractive in a funky
way, definitely a non-conformist.
AMY
...what kind of town is this when a kid
can be detained without her mother
even knowing --
VALENTI
Mrs. DeLuca --
AMY
That's Miss DeLuca, single mother and
proud of it so don't go there.
VALENTI
Why do you think I had my office call you
this morning? As a single parent myself,
I believe we should know what goes on
with our children.
AMY
You're a single parent?
VALENTI
Miss DeLuca, I believe something is going
on with Maria and her friends. Do
you know a boy named Max Ev--
MARIA
(interrupting)
Mom!
She turns to find Maria, barely recognizes her.
AMY
Oh my God! What have they done to you?
Is this a prison uniform?
VALENTI
Ma'am, your daughter is here to day as my
guest. If there's anything I can do to
make either of you more comfortable, just
say the word. Now, this shouldn't take
long and I want you both to know that you
can trust me. If any harm were to come
to either one of you ladies, I wouldn't
be doing my job right, now would I?
Again, he can turn on the charm when he wants to. And this
time both DeLuca women are receptive to it.
VALENTI (CONT'D)
Now Maria, why don't you come into my
office while we get your mother some
coffee?
AMY
Herbal tea?
VALENTI
I think we can arrange that.
Amy looks at Maria.
AMY
You'll be okay?
Maria nods. Amy kisses her, then realizing she got lipstick
on her, wipes it off with her hand, just like Diane Evans did
with Isabel. Maria touches her cheek, remembering.
INT. WEST ROSWELL HIGH - LOUNGE AREA - DAY
Someone has hung the "Future Week" banner on the wall. It's
empty, class in session everywhere else, except for Liz, Max
and Michael. Liz looks shaken up.
MICHAEL
What do you mean she was nervous?
LIZ
Just nervous. You know...
MAX
Nervous like just over-excited nervous?
MICHAEL
Or nervouse like she's gonna crack nervous?
Liz finally admits it.
LIZ
I'm not sure what she's going to tell
him. I'm not sure of anything anymore.
Off their anxiety.
INT. VALENTI'S OFFICE - DAY
Maria sits in a chair, squirming as Valenti questions her.
VALENTI
So you were in the parking lot to see
who?
MARIA
Just the healights.
VALENTI
(trying again)
Was there someone waiting for you?
MARIA
I don't know, I was unconscious.
It's not going well for either of them. He tries another
tactic.
VALENTI
Just try to relax. Now we both know why
we're here, so let's stop lying to each
other, okay?
MARIA
Okay.
VALENTI
Who is Max Evans?
MARIA
(beat)
A boy at school.
VALENTI
I want to protect Max. You believe me,
don't you?
She wants to believe him. She almost believes him.
VALENTI
Tell me what you know. And then he and
his sister and his friend will be taken
care of. I promise you that.
Valenti leans in.
VALENTI
He's just a boy?
MARIA
A special... boy.
VALENTI
And what makes him... special?
Maria is on the edge. Valenti moves in closer.
MARIA
Where he comes from...
VALENTI
Where does he come from?
Maria opens her mouth but nothing comes out. Valenti is so
close to her now. He's trying hard to control himself, but
her silence is killing him.
He slams his hand on the table between them.
VALENTI
Don't you understand how dangerous this
is? What they could do to us? We must
keep ourselves safe. Now where does Max
Evans come from?
Maria flinches, looks Valenti in the eye and finally sees the
truth. She finds strenght in his weakness.
MARIA
From a very nice family.
Valenti soaks in his anger, realizing his own fear just cost
him the truth.
INT. WEST ROSWELL HIGH - LOUNGE AREA - DAY
Liz, Max and Michael sit on a bench. The mood is tense.
MICHAEL
Where's Isabel?
MAX
She said she'd meet us here with the care.
MICHAEL
What if something happens before then?
Liz looks at Max.
MAX
Nothing's going to happen.
Topolsky rounds the corner and sees them all.
TOPOLSKY
Nobody interested in class today?
LIZ
Free period.
TOPOLSKY
(not convinced)
The elusive Mr. Guerin. You've missed
three career week appointments.
MICHAEL
They're already holding a spot for me at
the cheese factory.
TOPOLSKY
And Mr. Evans. I though we might make
our sessions more of a permanent thing.
You know, to get you setting some goals.
Maybe even bring your parents in.
MAX
My parents?
TOPOLSKY
You need to become more involved, Max.
MAX
(quickly)
I'm already involved. Didn't I tell you?
I got an after school job.
(beat)
No need to call my parents at all.
TOPOLSKY
(wary)
We'll see.
She leaves. Liz looks at Max, surprised. Michael's anxious.
MICHAEL
Where the hell is Isabel?
EXT. ROAD - DAY - THROUGH A WINDSHIELD
...we see a frustrated Isabel standing next to the Jeep, hood
up, steam rising from the engine. PULL BACK to reveal Maria
watching at a red light.
Isabel looks over and sees her. The light turns green. Maria
makes a decision, pulls up next to her. Isabel tries hard
not to show it but she's scared.
ISABEL
You're alone/
MARIA
Do you see the army coming up behind me?
ISABEL
(relieved)
You lied.
MARIA
Like a rug.
ISABEL
(noticing)
You look awful.
MARIA
"Thanks for saving our butts, Maria."
"You're welcome, Isabel."
A silent beat, Isabel's way of saying it. Maria understands.
ISABEL
Were you scared?
MARIA
Understatement.
(beat)
But that's when I realized what it's like
being you.
(another beat)
So, need a ride?
Isabel takes a beat, then gets in. Maria starts to drive.
MARIA (CONT'D)
Guess you'll need another tow.
Maria smiles, satisfied. Beat.
ISABEL
You just missed the turn.
Maria hits the brakes. Isabel smiles, satisfied. The more
things change..
We watch the Jetta drive down the road.
LIZ'S VOICE
(prelap)
The future was always so clear to me, a
straight path towards my goal.
INT. WEST ROSWELL HIGH - DAY - BACK TO LIZ, MAX AND MICHAEL
..as the BELL RINGS and swarms of kids come out of class.
LIZ'S VOICE
I'd just never counted on there being any
intersections.
They see Maria and Isabel emerging together from the crowd.
LIZ'S VOICE (CONT'D)
I guess that's what makes life more
interesting.
The five of them stand together, no need to explain anything.
LIZ'S VOICE
...keeping yourself open, letting new
people in.
As they walk away, Liz puts her arm around Maria.
LIZ'S VOICE
Changing your mind, not afraid of the
unexpected...
DISSOLVE
TO:
EXT. UFO CENTER - DAY
A tall, gray alien stands outside in the heat, passing out
coupons. It picks up a Big Gulp in it's oversized hands,
tries to drink but the straw won't go into the mask. The hand
grabs the face and pulls up, revealing Max inside, sweltering.
Toots comes out of nowhere.
TOOTS
Never let them see your face!
She goes up to him and grabs the drink away.
TOOTS (CONT'D)
Ruins the mystique.
Max puts the face back on and continues passing out coupons.
LIZ'S VOICE
...then again, there's nothing wrong with
a good plan.
FADE OUT.
THE END