'Original' Pilot
TEASER
FADE IN:
EXT. BACK OF LIZ'S HOUSE - NIGHT (MOS)
LIZ ORTECHO (16) sits on the ledge outside her window. She's potentially
beautiful but she doesn't realize that yet. She's also smart. She realizes that.
She writes into a journal.
LIZ'S VOICE
March 22, 1999. Entry one. I'm Liz Ortecho and five days ago I died. After that,
things got really weird.
DISSOLVE TO:
EXT. Roswell, NEW MEXICO, MAIN DRAG - MORNING (MOS)
Liz rides her bike, through a very sleepy town.
LIZ'S VOICE
I grew up here in the bustling metropolis of Roswell, New Mexico. You know,
where supposedly the alien spaceship crashed fifty years ago.
Behind Liz we see a UFO Museum and alien-theme gift shops.
INT. Roswell HIGH - BIO LAB - DAY (MOS)
Liz, in her element, leans into a microscope, takes notes.
LIZ'S VOICE
I'm a straight-A student. Ninety-eight average, Varsity Soccer, and I founded
the Roswell High Society of Future Scientists. I say this not to brag, but
because I'm about to tell you some pretty weird stuff and I need you to know
that not a flake.
PULL BACK to discover, MAX EVANS (16) classic good looks. He is gracious yet
shy, an outsider.
LIZ'S VOICE (CONT'D)
This is my lab partner, Max Evans. He's what my girlfriend Maria would call a
Roswell Hottie. In lab, we're a great Team. Outside of lab, we don't really
talk.
DISSOLVE TO:
INT. CRASHDOWN - CAFÉ - DAY
Mostly empty. Liz in a "Star Trek-esque" waitress uniform carries two burgers
from the kitchen toward a table.
LIZ'S VOICE
This is where I work. It's my father's place. Excuse the lame uniforms. But like
I said. It's Roswell.
As the ambient sound of the café kicks in, Liz slides the burgers onto a flying
saucer shaped booth.
LIZ
One Sigourney Weaver and one Will Smith. Get you folks anything else? Green
Martian Shake, Blood of Alien smoothie?
LARRY (20s), Lost in Space t-shirt, sits with JENNIFER (20s), green hair, both
obviously UFO tourists, shake their heads.
LARRY
So! Your relatives ever tell you any stories about, you know, the UFO crash?
Liz just smiles, here we go again. She takes a beat to get into character, then:
LIZ
I guess it would be okay to show you.
Liz furtively reaches into her uniform and pulls out a photo
ANGLE ON: MARIA DE LUCA (16), Liz's best friend, nervous energy loyal to the
end. She eyes Liz taking out the photo, smiles knowingly. She approaches another
booth where two burly men have a heated discussion. They appear to be truckers,
passing through town.
MARIA
Refill?
One of the men glares at her and waves her away with his arm.
MARIA (CONT'D)
(walking away; to herself) Nice attitude.
ANGLE ON: Liz as the tourists study the blurry photo.
LIZ
My grandmother took this picture at the crash site before the government cleaned
it up.
INSERT SHORT: A worm black and white photo of what seems to be an alien child.
Larry and Jennifer are blown away
JENNIFER
Whoa.
LARRY
This is a stunning piece of evidence.
JENNIFER
Do people know about this photograph?
LIZ
I know about it. And now you know about it.
JENNIFER
Whoa.
LIZ
I'll be right back. Don't show that to anyone.
Liz turns to walk away and smiles to Maria and ALEX WHITMAN (16) Native
American, skinny, talkative, smart. Alex sits at the counter nursing a coke.
MARIA
Stellar performance.
LIZ
Thanks. I like it myself.
ALEX
So, like, what's the deal with scamming the tourists?
LIZ
They get a great story and we get a great tip.
ALEX
I'll never understand the white man's fascination with aliens.
MARIA
Don't Native Americans get into aliens?
ALEX
We are aliens. Well, clearly you two are stuck here and I'm not so, hasta la
vista, baby. Are we lunching tomorrow?
LIZ
Twelve-thirty on the veranda.
Alex exits.
As we hear the sound of a fist slamming down on a table, Liz and Maria look over
at the burly men whose heated discussion has become a full blown argument.
LIZ
What's their problem?
MARIA
Neanderthals. (whispers/sing-song) Max Evans is staring at you again.
ANGLE ON: MAX, in a booth, looks away when Liz looks over. He sits with MICHAEL
GUEROM (16), unruly hair, leather jacket, mostly silent -- It's like it hurts
for him to talk. Max and Michael occupy themselves by playing a game of
"Quarter's Football" on the table.
LIZ
That is SO in your imagination. He's Max Evans. What would he want with me?
TWO CUSTOMERS get up and leave, Liz goes to clear their table. As she does she
gives Max the slightest curious look.
SUDDENLY as plates and glasses crash to the floor the argument between the two
burly men erupts. They are standing, shouting.
LIZ (CONT'D)
(to herself) Oh, no.
BIG ANGRY MAN
I was told to pick up the money, alright?! Not tomorrow! NOW!
SHORT MUSCULAR MAN
You won't need any money if you're dead.
The short muscular man draws a gun.
MARIA
Oh my God! Liz!
LIZ
Dad!
Liz races toward a door that reads "Employees Only." Before she gets there a
gunshot RINGS out LIZ doubles OVER. She's been shot. She falls behind the
counter.
The burly men run out of the restaurant knocking over Jennifer; Larry rushes to
her aid.
Maria tries not to panic, runs to Liz and places a dish towel on her stomach. It
is immediately soaked in blood.
ANGLE ON: Max and Michael. Max is standing trying to go to Liz, but Michael has
him by the shirt, pulling him back toward the booth.
MAX
What are you doing? Get off me!
MICHAEL
Max, what are you gonna do?
MAX
I have to do something!
Max pushes Michael away hard and runs to Liz. Grabs Maria.
MAX
Call an ambulance!
In shock, Maria goes to the phone. Max kneels over Liz. He takes the towel away.
Then places his hands on her stomach.
MAX
It's going to be okay.
JENNIFER
Oh my God.
Larry and Jennifer have walked up, see Liz's uniform soaking in blood.
MICHAEL
Get back!
Michael pushes Larry back. Jennifer looks at Michael.
MAX
Liz. LIZ! You have to look at me.
Liz does. Max takes deep breaths, concentrates.
SLOW PUSH IN on Max looking at Liz, then suddenly we see:
A RUSH OF IMAGES:
A stuff dog with a chewed up ear; 5-YEAR-OLD LIZ in a purple dress covered with
cupcakes; 8-YEAR-OLD LIZ and MARIA stand over a bird with a broken wing;
10-YEAR-OLD LIZ dances with her hippie mom and dad in their living room;
14-YEAR-OLD LIZ with her paren ts at a graveyard in the rain.
INSERT SHOT: Liz's wound heals. The bullet hole closes, and the blood dries up
around her stomach.
Liz open her eyes. She looks at Max. Max exhales relieved, surprised himself
about what just took place.
MAX
You're alright now. You're alright.
LIZ
I don't understand... I...
A distant SIREN is heard.
MICHAEL
We've gotta get out of here, man.
Max looks at him, nods. Michael runs out. Max smashes a ketchup bottle against
the floor. He pours the ketchup on Liz. He looks at her, deadly serious:
MAX
You broke the bottle when you fell. You spilled ketchup on yourself. Liz? I need
you to help me. Okay? I'll explain everything later.
Max exits. Maria and the Tourists look at Liz. Liz watches as Max and Michael
screech away in a banged up Jeep.
MARIA
Liz! Liz! Are you okay?
LIZ
I'm okay.
As she continues to look where Max just was, mesmerized, we
FADE TO BLACK.
END TEASER
ACT ONE
FADE IN:
INT. CRASHDOWN CAFE - FIFTEEN MINUTES LATER
Liz is seated being examined by a PARAMEDIC. JEFF (50s), long white hair, belly
protruding from his Grateful Dead T-shirt, looks down at Liz. He is very tense.
JEFF
Is she alright?
LIZ
I'm fine, Poppa.
ANGLE ON: SHERIFF VALENTI (50s), mirrored glasses, deliberate, a bit thrown by
an actual crime occurring. He's questioning a shaky Maria.
MARIA
...the guy with the gun was sort of like a muscular Beavis and the other one was
like a beefy Butthead.
VALENTI
I'm assuming they weren't actually cartoons.
Maria takes a long sniff from a vial of liquid.
MARIA
Cypress oil. Reduces stress. Want some?
VALENTI
No thanks. Now, let me ask you one more time. First you were sure Liz was shot.
LIZ
It was ketchup. I told you, Sheriff. I fell. I broke this bottle of ketchup. It
spilled on me.
Valenti walks over to Liz.
VALENTI
You feeling better?
LIZ
I'm fine. Just a little shaken up.
VALENTI
(to the paramedic) Make sure that brain of hers is okay. It's the most valuable
asset in Roswell.
Valenti winks at Liz. Then to Maria:
VALENTI
Did you see what kind of vehicles these guys took off in?
MARIA
No, I went right to Liz.
A MAN'S VOICE
One of them got into a green Ford pick up.
Valenti turns to see Larry and Jennifer behind the counter. Liz and Maria
exchange a look.
JENNIFER
Maybe it would help to have his plate number.
She hands Valenti a sheet of paper. His eyes linger on Jennifer's green hair for
a beat.
JENNIFER
There were two others. Two boys, about their age.
Valenti looks to Liz.
LIZ
That's right. There were. I forgot. I didn't recognize them. Must have been
tourists.
LARRY
Sure looked you knew them to me. Sheriff, can you come here for a minute?
Valenti walks over, obviously irked by this guy.
LARRY (CONT'D)
The gunman was standing there. He fired the gun in this direction here. Jenn and
I have searched the place up and down. No bullet hole. Sheriff, I think we both
know what happened here.
Valenti just looks at Larry, bewildered. Larry surreptitiously hands him the
alien photo.
LARRY
Before it happened, the girl gave me this.
Valenti looks at the photo, smiles. Holds it up to Jeff. Jeff looks at Liz,
admonishing:
JEFF
Liz, I told you no more showing fake alien photos to the tourists.
LIZ
Sorry.
Valenti looks back at Larry, smiles condescendingly.
VALENTI
You folks can go back to your UFO Museums. I'll take over the investigation from
here.
Larry exchange a knowing look. Jennifer whispers:
JENNIFER
Typical.
LARRY
This isn't just going to go away, Sheriff.
Liz looks at Larry, then notices something on her uniform, alarmed. INSERT SHOT:
through the dried-up blood on her uniform we see a bullet hole . She pulls her
apron up to cover it.
LIZ
I'm gonna go get cleaned up.
The Sheriff looks to the Paramedic, who nods that it's okay
MARIA
I'll help you.
Liz and Maria calmly walk toward the bathroom.
INT. RESTROOM - CONTINUOUS
Liz and Maria walk in, their calm demeanor is immediately gone.
MARIA
Do you want to explain to me why we lied?
LIZ
We didn't lie.
Maria pulls out a dishtowel from the side pocket of her uniform. It's soaked in
blood.
MARIA
This isn't ketchup. It's blood. You were dying. I was watching you die. What did
Max do to you?
LIZ
(honest) I don't know exactly. It's like he healed me or something.
Liz saying this freaks them both out.
MARIA
I just think you should know that I'm officially freaked.
And we CUT TO:
INT. EVANS HOUSE - KITCHEN - DAY
A fridge door slams and ISABEL EVANS (15), Max's sister, utterly sexy, utterly
cynical, utterly unforgiving about both, dips a chocolate cookie in a jar of
Wasabe mustard and eats it. She's very upset. Max tries to calm her. Michael is
also extremely up set. Max tries to cam her. Michael is also extremely upset,
but chooses to brood. He mixes a 50-50 mixture of Coke and Tabasco sauce.
ISABEL
I can't believe this, I can't believe this. Oh my God, Max, why?!
MAX
I'm sorry.
ISABEL
That's it? "I'm sorry." You break a sacred pact and that's all you have to say?!
MAX
It happened so fast. I didn't have time to think about it.
ISABEL
No using our powers. We agreed.
MAX
Come on, you use your powers all the time.
ISABEL
Yeah, recreationally . It's one thing to have a little fun, break up the
monotony that IS my life and it's another to go around healing a human in a
public place! Who are you, Doctor Kildaire?!
MAX
Alright, we are where we are, alright? Let's just figure out what to do.
ISABEL
Did anyone else see you?!
Michael and Max exchange a look. Isabel is sick.
ISABEL
Who?
MAX
Couple of tourists. (beat) And Maria DeLuca.
ISABEL
(hurling a cookie at Max) MARIA DE LUCA!
MAX
She's Liz best friend. It'll be alright.
Isabel notices Michael nervously fiddling with a display of plastic fruit on the
table.
ISABEL
Don't TOUCH that!
Michael pulls his hand back, frightened.
ISABEL
My mom spent months arranging it. She's like channeling Martha Stewart. (then
with growing panic) It's just a matter of time now. They're going to find us.
And when they do, they'll prod us and test us and God knows what else. You put
us in danger Max. All of us.
MAX
(doesn't know what else to say) It was Liz.
Isabel sighs with disdain. The doorbell rings. They all look at each other.
ISABEL
@#%$. Is it Valenti? @#%$!
Michael carefully looks through a crack in the window shade.
MICHAEL
It's Liz.
ISABEL
Great. Miss Science Fair. She's going to have a ton of questions. What are you
going to tell her?
MAX
(beat) The truth.
We see Michael almost stricken by these words. He speaks to him quiet, intense.
MICHAEL
You can't, Max. We never tell anyone. Not your parents. No one. Your rules.
There's a beat. The doorbell rings again and we CUT TO:
INT./EXT. FRONT ENTRANCE - MOMENTS LATER
Max opens the door. Liz stands there, a total wreck, she wears an old trenchcoat
over her uniform. She self-consciously adjusts her hair, walks in.
LIZ
You said you'd explain everything later. It's later.
MAX
Come in.
LIZ
Hey.
MICHAEL
Hey.
Isabel says nothing. She just stares at Liz, sending chills down her spine.
MAX
Maybe we should talk in my room.
Isabel looks at Michael.
ISABEL
This isn't happening. This can't happen.
As Isabel and Michael exchange a concerned look we, CUT TO:
INT. MAX'S BEDROOM - DAY
They walk in. Max tosses some dirty underwear out of sight. Liz is clearly
nervous.
MAX
Something to drink? Coke, juice? I probably have other stuff. I could look.
LIZ
No thanks. (beat) I lied to everyone. Just like you asked me to. But I need to
know what really happened.
MAX
There's no way I could get you to believe the ketchup story, is there?
LIZ
(tries to smile) I don't think so.
Max looks at her.
MAX
I can't tell you Liz, how much I want to tell you everything. But I can't.
LIZ
Why not?
MAX
I just can't. Liz, I'm going to ask you to please... I mean, you're alive right
now, right? Because of me you're alive.
LIZ
I know. I know that. I mean, I never even thanked you for--
MAX
That's not what I meant. Could we just, I mean, would it be at all possible that
we just, you know, let it go?
LIZ
Maybe we could. You know, if I was someone else. But I'm sort of obsessed with
facts. Which you know. As my lab partner.
Max nods, considering what to say. Finally:
MAX
Liz, I don't know how to say this. I'm different. I'm not like you. That's why I
can do things. Like heal people.
Liz trembles, tries not to show that she's trembling. There's a long beat.
LIZ
How? How do you heal people?
MAX
I just can.
Liz is totally unsatisfied with this, but the door opens. Isabel walks in
breaking the moment.
ISABEL
We're supposed to meet Mom and Dad for dinner. We're gonna be late. (to Liz) See
ya.
Liz looks at Max, he can't meet her gaze, and we CUT TO:
EXT. Roswell - NIGHT
Dark. Eerie. Liz rides her bike through the town, pedaling frantically. She's
completely freaked. She rides past a storefront window filed with dozens of
cartoonish, stuffed ALIEN DOLLS. It's unsettling, her gaze lingers on them.
Suddenly, a CAR HORN HONKS, screeches to avoid hitting Liz who has accidentally
veered into the car lane.
Liz snaps to. Continues to ride.
LIZ
Sorry, sorry, sorry, sorry.
CUT TO:
INT. MARIA'S KITCHEN - NIGHT
Maria shakily lifts a hot teapot from a burning stove, nearly spilling the water
over the flames. Liz takes the pot from her, turns off the burner.
LIZ
Okay, we're both a little too freaked to be using major appliances.
MARIA
So, different . What does that mean? I mean, did he at all think to elaborate on
that?
LIZ
Isabel came in before I could get any other answers.
MARIA
She is so rude.
LIZ
Listen, can I use your shower? I have to get this stuff off me.
CUT TO:
INT. MARIA'S BATHROOM - NIGHT
Liz walks in. She goes to the sink, washes her face. Maria appears in the
doorway, says nothing.
LIZ
What? You have that look.
MARIA
Nothing.
LIZ
What?
MARIA
So what we're saying here is that you were just... healed. Spontaneously. And
we're supposed to do what? Nothing?!
LIZ
We be scientists. We stay objective. We observe. We gather evidence. We come to
educated conclusions.
As Liz takes off her uniform, Maria eyes look on Liz's stomach.
MARIA
I think we just gathered our first piece of evidence.
Liz follows Maria's gaze to her stomach. On Liz's stomach we see two silver
iridescent handprints.
ON LIZ looking at herself, stunned, we CUT TO:
EXT. NEW MEXICO DESERT - NIGHT
Valenti approaches a pick-up he has pulled over, his gun drawn. He steels
himself, then knocks on the window.
VALENTI
Can you put your hands on the steering wheel please? Thank you. Can you step out
of the car please?
One of the burly men from the diner (Butthead) steps out.
VALENTI
Hands above your head, please.
BUTTHEAD
Okay.
VALENTI
Thank you. Very good. Thanks very much.
Valenti turns him around searches him.
VALENTI
You can turn around.
BUTTHEAD
Officer, if I was speeding--
VALENTI
This is about an incident that occurred in the Crashdown Café this afternoon. A
gun was fired and I have reason to believe that you were involved.
The burly guy looks at him, frightened.
BUTTHEAD
That wasn't me, alright? That guy is crazy. I don't know if that girl died or
what, but I didn't shoot her. I swear.
VALENTI
I never said anyone was shot.
MOVE IN on Valenti, taking in this information, and CUT TO:
INT. ISABEL'S ROOM - NIGHT
Isabel paces in her room like a caged animal.
ISABEL
God! I have to stop thinking about this. I do. I'm clearly obsessing. I mean,
talking to myself? Not a good sign. What to do? What to do? I've got to get my
mind off this.
Isabel notices a torn out magazine page with a photo of Claire Danes in a sleek
blue dress. A smile forms on her face as a thought comes to her mind.
ISABEL
Oh well. A homecoming queen's work is never done.
Isabel lays down in bed, deep in thought.
ISABEL
Who shall I visit tonight?
We MOVE IN on Isabel who closes her eyes, and we DISSOLVE TO:
INT. Roswell HIGH - HALLWAY - DAY (ALEX'S DREAM)
All in black and white . Alex, in full Indian regalia, rushes down the hallway
dodging students, dressed as cowboys, who attempt to keep him from his
destination.
ALEX
Calculus final! Gotta get to the calculus final!
Then, ISABEL appear in color wearing the Claire Danes dress. She watches Alex's
dream, to herself:
ISABEL
What a lame dream.
Alex comes face to face with Isabel. He's shocked to see her.
ALEX
What are you doing here?
ISABEL
We're late.
Isabel leads Alex down the hallway, he's completely confused. She pushes open
the double doors of the gymnasium.
INT. GYMNASIUM - NIGHT - ALEX'S DREAM
Isabel and Alex walk in. Crowns appear on their heads. A spotlight hits them.
Music plays.
ISABEL
Can you believe we won? We've been voted king and queen of the homecoming dance
by a jury of our peers!
Isabel tilts her head, asking him to kiss her.
ALEX
I have no desire to kiss you. You're Isabel Evans.
ISABEL
Prepare to experience life.
Isabel moves in, kisses him. Long and sexy. They break apart, Alex looks at her,
stunned.
ISABEL
Vote for Isabel, homecoming queen.
HARD CUT TO:
INT. ALEX'S ROOM - NIGHT
Alex wakes up in a start, sits up. He is breathing hard, stunned.
and we CUT TO:
INT. LIZ'S ROOM - NIGHT
Liz stands in front of the mirror, looking at the handprints, concerned and
confused. In this otherwise typical adolescent room, a poster of Einstein hangs
prominently.
PRELAP: MS. HARDY
Today we are going to look at the difference between human cells and other forms
of life.
DISSOLVE TO:
INT. Roswell HIGH - BIO LAB - NEXT DAY
Liz sits at her table alone. Max isn't there. MS HARDY (30s) hands out lab
materials as she lectures.
MS. HARDY
We've spent the last week talking about genus and phylum and no we're going to
get a little more specific and talk about the difference between species. Mr.
Evans, so nice to have you join us.
Max walks in, sits down next to Liz. Liz looks at him, but he just picks up his
lab sheet and starts filling it out to avoid looking at her. He puts his pencil
in his mouth as he reads, an age old habit.
MS. HARDY
Okay, everyone on the left prepare a slide from a vegetable sampling. Everyone
on the right take a toothpick and get a sample from your cheek.
Max is one the right. He doesn't make a move. Liz just looks at him. Finally,
she hands him a toothpick. He takes it in his hand, considers what to do.
Finally, he stands up.
MS. HARDY
Mr. Evans?
The whole class looks at him.
MAX
Can I get a bathroom pass?
MS. HARDY
High maintenance today, aren't we?
She hands him a pass. Max, takes his toothpick with him, walks out. Liz watches
him go. The other students are doing the experiment.
MS. HARDY
It's very easy to look on the outside and say what differentiates humans from
other species. But what about on the inside?
As she speaks, Ms. Hardy hands Liz a toothpick. Liz takes a scraping from her
own cheek, puts it on a slide.
MS. HARDY
Everyone look at the human cells and describe everything you see on your lab
sheets.
LIZ'S POV THROUGH THE MICROSCOPE LENS: human cells.
Then Liz lifts her face from the microscope, a thought occurs to her. She looks
at the toothmarks on Max's pencil. She lifts the pencil, takes a scraping from
it, puts it onto the slide. She takes a beat then slowly bends over the
microscope.
LIZ'S POV THROUGH THE MICROSCOPE LENS: Max's cells. They look nothing like human
cells. Or anything she's ever seen.
ON LIZ, lifting her face from the microscope, shocked. She is startled as Max
returns.
MAX
I have a scraping.
Liz looks at Max, terrified.
LIZ
I already got one. (grave whisper) Max. What are you?
As Max looks at her, we...
FADE OUT.
END OF ACT ONE
ACT TWO
FADE IN:
INT. Roswell HIGH - HALLWAY - LATER
Jam packed, between periods. Max emerges from bio lab, tries to disappear into
the crowd. Liz chases him down.
LIZ
Max, I really need to talk to you.
Liz pulls Max through a door for privacy.
INT. Roswell HIGH - MUSIC ROOM - CONTINUOUS
All the orchestra instruments are stored here. Liz and Max see KYLE VALENTI (16)
Sheriff Valenti's son, identical mirrored glasses, holding a tuba, about to put
it away.
KYLE
Ortecho.
LIZ
I need to talk to Max for a minute.
KYLE
I can't leave. I'm instrument monitor.
LIZ
Kyle, please.
She takes the tuba from him to put it away. When she does, her shirt rides up
exposing the silver handprints . She pulls her shirt down, looks to see if Kyle
noticed. It's unclear.
KYLE
So, my father told me about what happened yesterday. Why do you need to talk to
him? This about the shooting?
LIZ
No. We just need to talk.
Kyle considers this, looks at Max, then back to Liz.
KYLE
So when are you and I going out on another date?
LIZ
Kyle we never went on a date.
KYLE
Hey, you came to my place, we played Nintendo, you ate my chips. That's a date,
Ortecho.
LIZ
Kyle. Please. Give us a minute.
Kyle looks them over. Nods. To Max, as he goes:
KYLE
I have a complete visual memory of every instrument in this room.
And he walks out. Max looks at Liz, a bit surprised.
MAX
You went out with Kyle Valenti?
LIZ
No, no... Yeah, but no. I was younger. It was weeks ago. Can we just focus
please?
There's a beat, then Liz slowly lifts her shirt, revealing the silver
handprints. Max just looks at her.
MAX
Wow.
LIZ
I scrapped some cells from your pencil. God, this is really weird to say, and
I'm like trying very much to keep from blacking out here. The cells weren't
human. (beat) Max, I don't want to tell you what I'm thinking. What I'm holding
onto here is that my experiment was obviously not done in a very scientific
manner. So what I suggest is that we go to the bio lab now and I take a sample
so that I can see that what I'm t hinking is wrong. That I got the wrong cells.
Max just looks at her, in a corner. He conjures everything he has.
MAX
Those were my cells.
Liz nods, she just looks at him, doesn't know what to say.
LIZ
So, forgive me for asking a really stupid question but are you a... an alien?
LONG BEAT, THEN:
MAX
I prefer the term not of this earth. (off her look) Sorry, not a time to joke.
(then, simply) Yeah. I am.
Liz just stands there, motionless, her whole world is collapsing around her.
MAX
Wow, it's weird. It's sort of a relief to actually finally say it.
Liz looks up at him. She is terrified. She starts to back out of the room. It's
as though she's looking at a monster.
MAX
Liz..
LIZ
I have to...
MAX
Liz, it's okay.
LIZ
I'm going to be late for U.S. Government, so...
She backs toward the door. Max is alarmed by her terror, her reaction. He is
suddenly frightened, he puts his hand up against the door so she can't leave.
Liz looks at him, she is shaking.
LIZ
Please let me go!
MAX
I'm not going to hurt you!
LIZ
(tears well up) Kyle's out there!
MAX
Liz, listen to me--
LIZ
Let me GO!
She tries to force his hand away from the door. He grabs her, doesn't let go.
They are inches away.
MAX
Listen to me. Liz, please. If people find out my life will be taken away from me
forever. I'll be a circus freak. Liz. Please don't tell anyone. Now my life is
in your hands.
She just looks at him. Nothing else to do, Max releases her. She looks at him
another beat, then opens the door and runs out. Through the door we see Kyle
watch Liz run away, curious. Kyle turns to Max.
KYLE
What did you do to her, Evans?
Max is too overwhelmed by what just happened to even respond and we CUT TO:
EXT. QUAD - DAY
Alex and Maria eat lunch.
MARIA
I can't believe you had a sex dream about Isabel Evans. I'm disgusted.
ALEX
I know, she's the epitome of everything I feel is wrong with society.
MARIA
Forget society, she has the personality of a taxidermist.
Maria and Alex as Isabel walks up to them.
ISABEL
(sultry) Hey, Alex.
Alex cannot even respond, he is so affected by her beauty. Isabel looks at
Maria.
ISABEL
Can I talk to you for a second?
Maria is obviously terrified, tries to put a front that she isn't. They walk off
a bit, to speak privately.
ISABEL
Look, DeLuca, you and I don't have a lot to say to each other, so let's not even
pretend. I don't know what you think or what you don't think and I don't even
care. The thing I need to say to you is I can ruin you. Okay? But if you can
keep your mouth shut, which I know is a big strain for you, then we'll never
have to talk again. Which I'm sure would be a great relief to both of us.
Maria tries to respond but she can't. That's how terrified she is. Isabel
smiles.
ISABEL
(to Alex) See ya, stud.
And she leaves. Alex walks up to Maria holding Maria's bag which beeps.
ALEX
What was that about?
MARIA
Nothing.
Maria reaches into her bag and takes out her pager. INSERT SHOT: Maria's paper
reads "3RD floor bathroom. 911!!!"
CUT TO:
INT. GIRLS' ROOM - DAY
Maria is sniffing oils like a coke head. Liz nervously throws water on her face.
MARIA
There is no way Max Evans is an alien.
LIZ
Maria, I need you to stay calm here, okay? It's very important that we both stay
calm.
MARIA
Okay, I'm not in a very calm mood especially since I was just basically
threatened by Isabel Evans.
LIZ
What?! What did she say?
MARIA
Something about how she could ruin me. What does that even mean?!
LIZ
Maria, I'm sorry.
MARIA
So this sample, this blood sample--
LIZ
Cells--
MARIA
Whatever. You're sure, right? I mean, you're certain.
LIZ
Yeah.
Maria processes this. Finally looks up at Liz very serious.
MARIA
So what we're saying here is Max isn't Max.
LIZ
I guess we are.
MARIA
Are there others? What about Isabel, that would explain some things.
LIZ
I didn't ask.
MARIA
What planet is he from?
LIZ
I didn't ask.
MARIA
What did you ask him, Miss Scientist?
LIZ
Excuse me for being a little freaked.
MARIA
You're freaked; I've lost all feeling in the right side of my body. (beat) Liz.
We are in way over our heads here. We have to go to Valenti.
As Liz considers this, we CUT TO:
EXT. Roswell, LOW RENT DISTRICT - PRE-DUSK
Max's jeep pulls to a stop in front of a sad looking tract house. Max HONKS the
horn. Isabel sits in the back, she is notably silent, angry.
MAX
Isabel, just let ME tell Michael, alright? I don't want him to lose it.
Before Isabel can respond, Michael emerges through the front door, carrying a
bowling ball bag. He walks out onto the overgrown lawn. MR. MCELROY (50s) his
foster parent, white trash, follows him out, ranting
MR. MCELROY
Don't you leave here before you mow the lawn! Hear me!? You think the whole
world revolves around you, you little @#%$?! Is that what you think?!
Michael doesn't turn around, doesn't respond. Just walks to the jeep where Max
waits in the driver's seat, and Isabel waits in the back. He senses a deathly
silence in the car.
MICHAEL
What's going on?
ISABEL
Max told Liz.
Max throws a look to Isabel, thanks a lot. Michael glares at Max, then angrily
throws his bowling bag into the back of the car and climbs in.
MICHAEL
Let's bolt.
Max looks at Michael. Michael won't look back. As Max starts to pull out we
PRELAP the haunting first notes of the Wallflowers' "Invisible City", and CUT
TO:
INT. -EXT. MAX'S JEEP/DESERT - SUNSET
The desert is beautiful, start; the sky ominous. The music continues. Michael
stares out the window. Max looks back and sees Isabel is holding a CD to her
ear, listening to it.
MAX
Isabel could you please not do that!
Isabel takes the CD away from her ear and that music stops
ISABEL
Right, like listening to a CD is our problem!
They go silent as a POLICE CRUISER approaches from the other direction. It just
drives past them. But they are all freaked by it. Then a silence:
MICHAEL
We should just keep driving. We should get out of Roswell.
As this thought sits with all of them, especially Max, we CUT TO:
EXT. DESERT - NIGHT
Two bowling bags are opened. Inside, are archeologist digging tools,
flashlights, hiking shoes, etc. Max and Michael start getting equipped. Isabel
remains in the backseat.
ISABEL
I can't believe you two are continuing with this pathetic, pointless search as
if nothing has happened.
Michael has finished getting ready and just walks off without a word. Max looks
at Michael for a beat, then turns back to Isabel.
MAX
No one said you had to come with us.
ISABEL
Like I'm going to sit at home alone while the parental units watch Felicity
trying to quote-unquote-understand us and wait for the feds to show up and turn
me into a national zoo exhibit.
Max, now equipped, is ready to go:
MAX
Coming with?
ISABEL
Yeah, right.
Isabel pulls out a stack of fashion magazines, lays back and starts leafing
through them.