TITLE: The end of the world: Sudden Abandonment
DISCLAIMER: None of the characters belong to me except for the original characters like Henry, Sam, Paris, Athens and Benjamin.
SPOILERS: This story comes right after "Viva Las Vegas" in Season 2.
NOTES: I wrote this story over 10 years ago, so bare with me throughout the different chapters. I promise you my writing gets better :)
The original story is in Spanish (my mother tongue) and translated recently so I apologize for any mistakes you may encounter.
MAX (VOICEOVER): Previously, on Roswell…
We see different flashbacks from previous episodes. From "Max to the Max":
ISABEL: I think he's right. I mean, we are paired together just like in the pods. Max and Tess, me and Michael.
LIZ: So everything Nasedo told me was true. You and Tess were meant to be together.
LIZ: Max, the day that you saved my life, your life just ended.
MAX: No, that was the day my life began
Flashback from "The end of the world":
MAX: I need you to help me fall out of love with you.
Flashback from "Ask Not".
MAX: It's not that I dislike you.
TESS: You don't have to spare my feelings. Nasedo taught me not to get wrapped up in... this. It's not really who I am. I'm not human. Neither are you.
MAX: It's the only life I've ever known.
TESS: That's not true. You lived another life, Max... a life completely different from this one... a life when you loved me.
We fade to black and start listening to the first chords of:
Music: "Connection", Elastica.
Aerial shot of a luxury hotel. We zoom in on the balcony that has the curtains open to let the light in. Inside, we do a broad overview of the best suite available at the hotel. Sitting on the bed, we find Maria DeLuca browsing a magazine while she speaks on her cellphone. She is dressed with a sky-blue silk pajama and her long hair is tied in a ponytail. She looks about 27 years old.
MARIA: No, no and no! I already told you, Henry, I don't want to sing with her. That woman is too old to continue with her career, she doesn't know what else to do to get attention.
HENRY (offscreen): Maria, you have to consider how much money you could make with this.
MARIA: I don´t care! I sing alternative-rock, not that shit pop music she makes.
HENRY (offscreen): Maria, please…
MARIA: No, and that is my final answer. (She drops the magazine on the bed, gets up and walks toward the closet, where she starts looking through her clothes. We can see on her face she is tired of the life she is living) I don't get it, don't I pay you enough already? We are the most successful band on the planet, I don't need this shit. (She takes a t-shirt from the closet and throws it over her shoulders).
HENRY (offscreen): Okay, Maria, I'm not going to insist with this anymore. (Pause) Remember you have a meeting in an hour with-
MARIA (interrupting him): With the director to sign the contract for the movie. Yes, I know, I'm not that dumb, I can remember my own meetings. (She takes her cell phone headphones off and throws them on the ground. She closes the closet door and looks at herself in the mirror. She lets a sight escape her mouth, walks toward the bed and falls on it, head down).
We cut to:
Music: "Champagne Supernova", Oasis.
Day - Filming set in a Hollywood studio.
Alex Whitman is sitting on a chair looking at the time on his watch with a coffee mug on his right hand. He calls his assistant.
A young girl, tall, with long black hair and black framed glasses appears.
SAM: Yes, Alex.
ALEX: Did you get the magazine?
SAM: Yes, here it is. (She picks up the magazine from a pile of papers she is holding and gives it to Alex. While she talks, Alex looks through the magazine) It's what everyone is talking about.
ALEX (reading the magazine): Sometimes you need this kind of publicity. It's amazing how people would believe anything these days. Like I would ever want to marry her! (He slaps a page on the magazine where we see a picture of Alex and a very attractive model, posing together) Can we start shooting already?
SAM: Not yet, Maria is at the meeting with the movie director and Kyle can't get out of the airport.
ALEX: Oh, God, this is going to be the longest day ever!
He gets up off the chair and we see it has his name written on it. He walks toward the catering table and looks around a little bit. He picks up a salami and cheese sandwich. A blond woman next to him pours herself some coffee. Alex looks at her for a while.
ALEX: Do I know you?
The woman turns around and we notice it is Isabel Evans.
ISABEL (smiles): Isabel Evans Guerin, at your service.
ALEX: Evans...huh? I thought I recognized you from that movie, "Rebelion", is it? Fantastic movie! Really loved it. (He extends his hand) I'm Alex Whitman.
ISABEL: Yeah, I know. I'm the model in your music video.
Sam appears in the scene.
SAM: Alex, I need you for a minute.
ALEX: Okay. (To Isabel) So, I guess I'll see you later? (He extends his hand to shake hers) It was a pleasure to meet you.
Isabel shakes his hand.
Alex turns around and starts walking away from Isabel. Suddenly, he turns around at the same time Isabel does and they look at each other, a little bit scared.
Alex drops his cup of coffee from his hand, which spills all over the floor. The scene ends and we cut to: opening credits with guest actors Adam García and Carly Pope.
We return from the credits with:
Day - VIP lounge of an airport.
Kyle is standing in front of a large window, looking out at the tracks. A woman approaches the coffee machine and looks at it. Kyle turns and speaks to him:
KYLE: They still don't know when we're going to board?
The woman turns around and we see that it is Tess, with her hair longer than usual, dressed in a gray skirt suit piece.
KYLE: Crap! (He takes a deep breath and looks again at the slopes where more and more snow falls). Right now I should be shooting a music video and I'm stuck in an airport because no one saw that storm coming...
TESS: I should be at a press conference and I can't get out of this damn city. I have many people waiting for me. (Tess sits in one of the armchairs with her coffee. She takes some black-framed glasses out of her purse and starts to read a newspaper on the coffee table).
Kyle sits next to Tess and puts his elbows on his knees. Then he begins to contemplate her carefully, as if remembering something.
KYLE: I know you ...
TESS (smiling): I don't think so. (Holds out his hand) Tess Evans, delighted.
Tess goes back to her journal, obviously trying not to look him in the eye. Kyle continues to stare at her in surprise. Trying to remember something that he obviously can't.
Flash of "Ask not":
TESS: Calvin Klein! I approve.
End the flash.
KYLE (opening her eyes wide): Tess, what the hell was that ?!
We stay in Tess's face, who is surprised to drop the glass of coffee that stains her skirt.
The scene ends and we cut to:
Day - The camera focuses on a trailer door. We see a hand that knocks three times and seconds later the door opens, revealing Isabel behind it.
ISABEL: Alex! What are you doing here?
We see that the one who knocked on the door was Alex, who quickly enters the trailer and closes the door behind him, not without first checking if someone was watching them.
ISABEL: Is something wrong?
Alex begins walking from one to the other side of the trailer, hands on his head.
ALEX: I have these images in my head that I don't know if they are true ... Is this a dream? What am I doing here? Who I am?!
ISABEL: Alex, please calm down. I know even less than you.
Isabel grabs Alex by the shoulders and forces him to sit in a small chair against the wall of the trailer. Then she sits down next to him and takes him by the hands.
ISABEL: I am not going to deny you that I am scared, very scared.
ALEX: Is it true?
ISABEL (looks at him confused): What is true?
ALEX: The memories I have in my head ... you ... and I ... together. Roswell. Pierce. The skins...
ISABEL (swallows hard, she finds it hard to believe what's going on): I don't know.
The scene ends by focusing on the face of Alex, who shows fear.
We come back with:
Day - A laboratory.
We see Liz Parker, with her hair tied back in a ponytail, looking through a microscope and taking notes on a notepad next to her. The door opens and a tall man enters the room, dressed with a white apron as well as Liz. He approaches her and we see that it is Max Evans,
MAX: Elizabeth Parker, right?
LIZ (puts her pencil down and looks up at Max): Yes, how can I help you?
MAX: I'm Max Evans ... we will be working together this month. I think the department should have noticed you on this.
LIZ (remembering): Right ... right. (holds out her hand) I'm sorry. It will be a pleasure to work with you, Dr. Evans.
Max holds out his hand. We see a flash from "Pilot":
Max: You broke a bottle of ketchup when you fell. Please do not say anything.
Finish the flash.
MAX: Liz ...
The scene ends and we change to:
Music: Continuing of Champagne Supernova", Oasis from Kyle and Tess' scene.
Henry (Maria's manager), Maria and other people are sitting around a large round glass table. Several men get up from the table leaving Maria, Henry next to her, and two more people alone in the room. Maria waits for the men to leave and close the door behind them before she starts talking.
All this happens with the camera on Maria. There are two people with their backs to the camera and we cannot see who they are.
MARIA: Listen to me, there are several things that I want to clarify before we move forward. No exaggerated kissing, no sex scene, no nudity and no stupid love story. I want it to be a serious movie. I will not accept a larger amount of money just to film one of the scenes I mentioned. I am a very serious woman ... although sometimes it does not seem like it (she smiles at one of the men in the room).
The camera turns and finally see the other people in the room. We find out one of them is Michael; next to him there's a man who is writing things down on a sheet.
MICHAEL: I have no problem with that,
MARIA: Very well ... I think we are going to work very well together, we understand each other. (smiles at him again) Where do I sign, spaceboy?
MAN (shows him a piece of paper): Here.
Michael looks at her in total surprise. Maria takes the pen that the man has lent her and looks up. No one understands what is going on.
The scene ends and we go to commercials.
We return from the commercials with a close-up of a double door, closed. We hear several voices from the other side, it seems that there is a heavy conversation going on.
We move to a shot from the other side of the door; it is the living room of a hotel room, which seems to be the same one where we saw Maria before. Liz Parker and Alex Whitman are sitting on the couch, the two of them looking at the other people in the room, not speaking. Isabel Evans is sitting in a wooden chair, next to the couch, rolling and unrolling a handkerchief. Max Evans stands next to his sister, resting a hand on her shoulder. Maria DeLuca is standing in front of the balcony window, looking at the city, while playing with her necklace. Tess Harding is standing on the other side of the living room, next to Kyle Valenti. Michael Guerin is sitting in a chair just like Isabel's, next to the balcony and close to Maria.
ISABEL: This is not right ... (she finishes rolling the handkerchief once again) it is not right at all (she begins to unroll the handkerchief again). Yesterday everyone had a life and now we wake up ... (looks at her body and stops what she was going to say) I do not like this.
Max squeezes his sister's shoulder.
MAX: No one likes this.
Isabel suddenly stands up and starts screaming.
ISABEL: Don't you understand ?! This is not what I want! Yesterday I thought I had two lives ... with my life on Earth and my life as Vilandra in Antar. And now ... now I have three! This is not OK! We can't just sit here wondering why this happened! I want my life back!
MAX: Isabel ... please ... you need to calm down a bit.
Isabel sits down again, covering her face with her hands.
ISABEL: I want to go home ... I'm an 18-year-old girl ... I don't even know how a 27-year-old should act ...
MICHAEL: I think the best thing would be to go back to Roswell ... We can try finding answers in the Granilith.
LIZ: How are we going to do that? Most of you are surrounded by people all day and harassed by fans all the time; It will not be that easy to sneak out to another city. Besides, we don't even know which one of the two lives is true ... maybe this is the real one and the other one we think we lived was some kind of alternate universe.
ALEX: That could make sense ...
KYLE: It makes sense, but I don't think anyone is happy with this life ...
TESS: It's like the incident in the Crashdown never happened. As if Liz had never been on the verge of death. As if we had never spoken even though we all lived in Roswell.
Michael looks at Tess strangely, as if that comment meant something, but he doesn't know what yet.
MICHAEL: And you're married to Max ... and I'm married to Isabel ...
TESS: Are you implying something?
Maria, who had been silent throughout the conversation, turns around, still playing with her necklace, and finally speaks.
MARIA: These are our dreams ... or at least something close to that. Something or someone must be doing this so that each one of us gets to live the dream of their life. I mean ... I always wanted to be a singer, and now I am. Each one of us has a successful career and a perfect match ...
Everyone stays silent for a moment.
MAX: We go back to Roswell right away, where it all started. We need to know what happened.
Tess nods, walks up to Max and hugs him. Max watches Liz's face, who followed the entire movement of his now wife and bites her lip. Michael, who had also watched Tess, stands up from the chair and approaches Maria.
MICHAEL: Everything will be fine ... I promise.
The scene ends and we change to:
Music: "Dream a little dream of me", Ella Fitzgerald.
Night - Wide shot of a mansion. A BMW car approaches the house and parks by the door, a man in a suit and a woman in a long dress get out. The man hands over the keys to a young man, who's the valet.
We continue with an overview of the main hall of the mansion. We are touring the place and we understand that a charity dinner is happening. Maria, Alex and Kyle, holding glasses in their hands, are talking to a group of producers. Liz is sitting in a chair next to the food table: she clearly does not look very comfortable in the environment. Tess approaches the table and smiles at her. We continue "walking" around the room and we see Isabel, beautifully dressed in a long purple dress and with her hair tied up in a bun, talking and smiling to another group. She excuses herself and starts looking for Alex around the room. She finally finds him, leaves her empty glass on a waiter's tray and touches Alex's shoulder.
He turns around and she takes him by the hand.
ISABEL: I needed to talk to you.
She leads him to the balcony where there is no one outside.
ISABEL: I ... I don't know what to do. Max is driving me crazy; I can't take it anymore.I know he is our Leader, but ... it bothers me so much that he is always so calm. How can I stay calm when I have three different lives to live and I don't know which one is the real one? (Pauses) I'm sorry, I shouldn't be dumping all of this on you.
ALEX: You don't have to apologize for anything.
ISABEL: if I had never let you in my life… none of this would have happened to you. I'm so sorry for making your life so crazy.
ALEX: I don't care, Isabel.
ALEX (interrupting her): No matter what you say, it's not your fault, it never was and never will. I choose this, too.
Isabel takes him by the hands.
ISABEL: Thanks. (She takes a pause) You know? When we were dancing ... in Las Vegas ... I realized that it always ends like this for me.
ISABEL: Me, alone, looking for some shoulder to cry on. And it's always you who-
ALEX (interrupting her again): I'll always be more than glad to lend my shoulder for that.
Isabel smiles weakly at him. She takes his face with her hands and kisses him.
The camera slowly zooms out from them and focuses on the entire balcony. Alex takes Isabel by the waist and they start dancing the song to the song that is playing at the party. A shooting star crosses the sky and we cut to:
Afternoon - Several weeks later.
Isabel is walking down the streets of Roswell, clearly enjoying being back in the city. She arrives at her house and enters it. There is nobody inside. It is the same house she used to live in and we have seen in previous episodes, only several pieces of furniture have been moved around and some decorations are different. She goes upstairs to her room and opens the door; she stands by the door but doesn't enter the room. The camera takes on Isabel's face first, observing her room with disgust as it looks totally different from her "other" life. She takes a deep breath and finally decides to enter. She begins to walk around; her parents have placed posters of the movies she has starred in on the walls, as well as some pictures from magazines and advertisements where Isabel appears. Isabel watches everything, trying to find something that can connect it with her life.
We see a flash of "Heat Wave":
Alex's dream, the two of them dancing.
Flash from "Toy House":
ISABEL: (...) and you were wearing this yellow sweater. And I remember thinking that it looked like the sun. That you were like the sun. Mom, I don't know if you can understand this, but ... the day you and dad came for us ... that's the day our lives began.
The flashbacks end and we're back to Isabel in her room. She brings a hand to her face, trying to control her crying.
Flashback from "Skin and bones":
ISABEL: Alex, sorry. You know it's not you, It's just that with everything that's going on, the things on my mind, I can't think of being with a boy now. You know, any boy.
The flashback ends and we return once again to Isabel, who is now sitting on her bed, crying uncontrollably. She lies down on the bed, picks a pink teddy bear and hugs it, and closes her eyes.
Suddenly we see a hand with a black glove that covers her mouth. Isabel opens her eyes in fear.
VOICE: Hello, Vilandra.
The camera focuses on a photo that is on the shelf in the room. In the photo, Isabel stands alongside Max, Michael, and Tess on High School Graduation day. Isabel, Max and Tess are dressed in blue robes and holding their diplomas. The glass in the photo frame breaks just where Isabel's face is.
We cut to commercials.
We return from commercials with:
Day - The Evans residence. Isabel's wake.
Alex is hugging Maria. Michael is sitting in a chair with his head down and his arms on his knees. The camera goes down the hall, up the stairs, until it reaches Isabel's room, which looks the same as the previous scene. Max and Tess are sitting on Isabel's bed. Max has tears in his eyes and Tess is trying to comfort him. Liz enters the room.
LIZ: Max ...
Max gets up quickly as he wipes away the tears on his face. Tess turns to look at Liz and nods at her.
LIZ (first looks at Tess, then at Max): May I speak to you?
Max looks at Tess. She gets up, squeezes Max's hand, and then leaves the room. When she meets Liz, she lets her shoulder brush Liz's body.
LIZ (approaching Max): This is not normal.
MAX: I know.
LIZ: No, Max, you don't understand. They arranged everything to make it look like suicide. But ... why would Isabel want to commit suicide?
MAX: You mean ...
LIZ (she doesn't want to say it, but she knows she has to): An alien? Probably. You and I both know she would never have done this to herself.
MAX: I think Michael has an idea of who it may have been.
We cut to:
Evans' residence porch. Tess is standing a few meters from the door, looking at the street, her hands together at the height of her belly. There is a blank expression on her face. The front door to the house opens and Michael comes out. Tess, who is absorbed in her thoughts, doesn't hear him. Michael walks slowly towards her and stands next to her. Tess is surprised by his sudence presence, looks at Michael's face and takes a step back.
TESS: Michael! You scared me ...
MICHAEL: I'm sure Isabel was even more scared.
Tess looks at Michael with a strange expression on her face, not truly understanding what he means. Michael does not respond immediately, but keeps his hands in the pockets of his suit pants staring at the end of the street.
TESS: You think I killed her, right? You think all this happening is my fault.
MICHAEL: You're finally married to Max and that's the only thing that ever mattered to you ...
TESS: Isabel gave her life for me on her birthday. (Angrily) I would never do anything to hurt her!
Tess looks at Michael in disgust and walks away from him. She walk to the house and opens the door. Before entering, she turns to look at Michael with a worried expression.
The scene ends and we cut to:
Music: "Boys don't cry", Plumb.
At night - Max is sitting on a bench in a plaza, the same one we saw in "The end of the world". Liz is walking around the plaza, lost in her thoughts, when she sees Max. She slowly approaches him and sits down next to him, far enough away that she can't touch him, but close enough that Max doesn't think she rejects him.
LIZ: Are you okay?
MAX (without looking at her): It's only been a week since she died ... I can't continue like this.
LIZ: You can tell there's a missing piece in our lives.
MAX: Isabel was everything to me. I would have given everything, including my life, for her. She was the only true family we had. I didn't even get to see with my own eyes the day he graduated. When she got married ... This life started two weeks ago for us, all that happened before are blurred memories. In none of the three lives could I share any of those moments with her.
Liz raises her hand and rests it on Max's shoulder, he turns his head and looks at her. The scene resembles that of Tess and Max that we saw in "The end of the world".
LIZ: Still don't remember your life as Zan?
MAX: No ... (pauses) May I ask you for a favor?
MAX: Can you tell me the truth ... about what happened that night I saw you with Kyle?
LIZ: Max ... I told you ... I slept with Kyle.
MAX: Liz, I don't know how we are going to get out of this, I don't even know if we are going to get our of it. But that image I saw ... the memory I had of our marriage ... that was totally real. I felt it. (pauses again) How did you know about the Granilit before I told you?
LIZ: I ... (Liz starts to stand) I can't do this, Max.
MAX: Tell me, please ... if not for me for Isabel.
LIZ: You can't put me in that position!
MAX: I know what happened involves her too, I just know. Please.
Liz has a Flash from "The end of the world":
LIZ: What? Do you expect me to believe that the Granilit is like a machine?
MAX OF THE FUTURE: It wasn't supposed to be, but it has a tremendous amount of power (...).
MAX OF THE FUTURE: (...) Serina said ... she will be friends with you one day. It has something to do with quantum mechanics, but in essence Max and I would destroy ourselves if we ever made contact.
LIZ: The end of the world?
MAX OF THE FUTURE: Exactly.
LIZ: What happened?
MAX OF THE FUTURE: The closer you and I got closer, the worse things got with Tess (...).
The flash finishes and we return to Max and Liz.
LIZ: I have to go.
MAX: Do you want me to take you home?
Liz hesitates for a few seconds.
LIZ: Yes, thank you.
The scene ends and we cut to:
Music: Boys don't cry, Plumb (continuing).
Max and Liz are sitting in a black car, much more expensive than the jeep, in front of the Crashdown door that changed its name to "Sonic". The café also looks quite changed inside with a more elegant note. At that time, it is closed. Both Max and Liz are sitting facing forward, neither of them encouraged to say anything.
Suddenly Max turns his head and watches the Café.
Flash of "Pilot":
Liz's face when she hears the gunshot. Max runs to Liz, opens her waitress dress and places his hand on her to heal her.
End of the flash.
MAX: It's so weird how everything changed ... I can remember the day I healed you like it was yesterday. (Pauses) Sorry for bringing you into this. I should never have gone up to your house that night ... I never should have ...
LIZ: Stop it, Max. That was one of the best days of my life. That one and every day that followed.
MAX: Even when Tess appeared?
LIZ (pauses and looks him straight in the eye): I always knew it was me. (She hesitates for a moment and finally comes over to him to kiss his cheek) Good evening, Max.
Liz turns to open the car door but Max takes her arm, returning her to him and kisses her on the mouth.
We see mixed flashes of "The end of the world"; we see the images but we don't hear the voices. Max from the Future dancing with Liz. Max from the Future and Liz watching Max from Whitaker's office. Max sees Liz and Kyle in bed.
End of the flash.
Liz looks at Max with alarm on her face and rapidly gets out of the car. She hurries to the cafe doors, turns to look at Max for one last time before entering, and then closes the door.
We cut to Liz inside the Café. The lights are off and Liz can't see much, so she gropes in the dark as she walks. We notice a shadow behind it.
VOICE: Hi Liz ...
We see a hand with a black glove taking Liz and covering her mouth. We cut to:
A photo frame with a picture of Liz and her parents. The glass cracks where Liz's face is, just like we saw with Isabel.
The scene ends and we cut commercials.
We return from commercials to:
Day - Livingroom at Maria's house, which looks the same as always. Kyle and Alex are sitting on the couch, playing with the Playstation, each trying to make the other lose. Maria is in her room, standing in front of a large mirror, wearing the old Crashdown uniform. She takes the headband with the antennas from a shelf and places it on his head. A tear escapes from her eyes and she dries it with her hand. She takes a deep breath and leaves the room.
In the living room Alex and Kyle stop playing when they see Maria enter with the uniform.
KYLE: I can't believe it!
ALEX: What are you doing?
MARIA: I wanted to know if it fitted ... (she approaches the boys and sits in the armchair between them. Then she rests his head on Alex's shoulder). Can this be possible? I'm a 27-year-old but still feel and act like a 17-year-old ... What are we supposed to do?
The camera focuses on Kyle, who thinks.
KYLE: We know that Max, Tess and Michael are looking for a solution to all of this, but what if they can't find it? Will we have to be stuck in these lives forever?
ALEX: Without Isabel? Impossible.
KYLE: What if this is our true life and we never realized it?
Alex and Maria look at Kyle with an expression that says: Don't even think about it.
KYLE: Right, that's not even an option.
Suddenly we hear the doorbell ring, Maria gets up to answer and leaves the boys to go back to their game. We listen to a conversation in the distance in which we cannot distinguish what it's being said, and then we see Maria running into the living room and hugging Alex who has just got up.
MARIA: No! (Screams loudly and starts crying)
KYLE: What happened?
Jim Valenti enters the living room.
KYLE: What happened, dad?
VALENTI: There was an accident ... on the bridge.
ALEX (first looks at Kyle, as if they already know what it is about, then asks fearfully): Who?
The scene ends with a close-up of Maria's face, who closes her eyes tightly when hearing the name of her friend and hides her face in Alex's chest.
We cut to:
Night - Sheriff Valenti's Office. We see the Sheriff with his head down. In front of him is Max, standing next to the modular, resting his arm on it. We notice him angry.
MAX (yelling): You won't put that on the report! Liz did not commit suicide! There is no proof of that, none!
VALENTI: Max, calm down a bit. I don't know what is going on, I am really surprised by what you told me. That may be the reason why she did it. I'm not sure that she liked this life ... and, surely, with Isabel's suicide ...
MAX (lifts her face and looks at him sharply): It wasn't suicide.
VALENTI: This is what I have in the report. The two girls left notes apologizing to all their loved ones for what they were going to do.
MAX: Isn't that too coincidental?
VALENTI: You mean that an alien is killing them and creating a situation for everyone to believe that they committed suicide?
MAX: It makes more sense ... They were very depressed but never, for anything in the world, would they never have reached such extremes.
VALENTI: Statements by close people and family members lead to that conclusion. They were both having sudden mood swings and looked very depressed.
MAX: Those people don't know anything! Neither of them was close enough!
VALENTI: Max ... that's what I have to put; I do not have any other option. I can't lie, other people have already seen the files and there is no way to change them. I am so sorry.
MAX (lowers his head, takes a few deep breaths, then looks at Valenti again): It doesn't seem like you really are.
The camera focuses on the face of Valenti, who watches Max sadly, partly because of what is happening and partly because he does not know how to help him.
The scene ends and we cut to:
Day - Roswell Street. A car is parked on the shoulder and we see Michael and Maria inside. She is sitting in the driver's seat with her hands on the steering wheel even though the vehicle's engine is off. Michael is sitting in the passenger seat, staring at her.
The camera focuses on Maria's face, whose eyes are read and we know she has been crying.
MARIA: What are we going to do?
MICHAEL: I don't know ...
MARIA: Why did this have to happen? Why?! (Maria puts her hands to her face and starts crying again).
MICHAEL: Hey, hey ... (he tries to calm her. He grabs her by the shoulders.) We will get to the bottom of thi. I know it was not suicide and it was not casual murder. I'm sure it was an alien who did this ... someone like me.
MARIA (lifts her face and stares at him): No, Michael, don't blame yourself.
MICHAEL (approaches her and kisses her on the forehead): Stop crying (He kisses her nose.) Smile a little ... I love your smile. (Maria tries to smile but can't and several tears start to run down her face again. Michael hugs her.)
MARIA: I can't stop wondering who will be next ...
MICHAEL: Don't think about this. Think that Max is going to find a way to end this and Liz and Isabel are going to be with us again. You know that Max always finds the solution and solves everything.
On the radio we hear the first chords of:
Music: Cranberries, "Just my Imagination".
MARIA: Liz loved that song ... We used to sing it together when we worked in the Crashdown.
Michael looks her in the eye. He comes closer and kisses her gently on the lips. On his face we notice an expression of deep pain; he hates that Maria is going through so much suffering and would like to do something but can't
MICHAEL: Everything will be fine. I promise. (He turns to open the car door and get out.)
MARIA: Michael ... (Maria grabs his arm. He turns and smiles at him.)
MICHAEL: I know. (He gets out of the car and enters Max's house.)
The camera stays with Maria, watching from the back seat. She starts the car's engine and starts driving down the streets until she reaches his house, humming the song on the radio as she drives. She parks at the door and removes her seat belt; she is about to get out of the vehicle when we hear a strange noise in the back of the car. Then we hear a voice.
VOICE: Hi, Maria.
The camera cuts to a photo of Maria and Alex on stage, in the middle of a recital. Maria's face becomes blurred.
The scene ends and we cut to:
Next day - Noon. The same cliff in the desert that we saw in "The Toy House" and in "Crazy". Tess, Kyle, Michael, Alex and Max are there.
TESS: This is going too far ... First Isabel, then Liz ... and now Maria.
MICHAEL: As if you ever cared about her.
Tess opens her mouth to say something but Max stands between them and stops them.
MAX: You two, enough is enough. Don't fight anymore. You have to worry about finding a way out of all this. Probably the next one would be Tess, if it's only targeting women ... we have to be prepared.
ALEX: We have to go now to the Granilit, there's no more time to wait.
KYLE: I agree with Alex, we can't wait anymore.
MAX: So ... come on.
Everyone starts walking towards the cars except Michael and Tess. He looks at her with hatred and she stares back for a few seconds, then runs to where Max is and hugs him as they walk.
Michael lowers his head and puts his hands in his pockets.
The scene ends and we cut to:
A few minutes after the previous scene. All five are inside the Granilit. Alex and Kyle look around the whole room, unable to believe what they are seeing.
ALEX: So this is ...
MICHAEL: The Granilit.
TESS: I wish we knew how it works.
MICHAEL: We can try.
Michael, Max and Tess rest their hands on the purple cone and close their eyes. Alex and Kyle watch them as the light in the room begins to turn to the same color. Then it turns red, turquoise, and then orange. A force pushes Kyle and Alex to the walls. Tess takes her hand out and runs to Kyle.
TESS: Kyle, are you okay?
Michael and Max are still holding hands as the light begins to turn yellow. Tess turns around and looks at them with a worried face. Max bolts up against the wall. Tess runs to him.
TESS: Oh gosh. Max!
Max's nose is bleeding. Michael still has his hand on it. The light turns blue and a wind begins to blow inside the room. Tess puts her hand on Max's nose and the blood disappears.
TESS: Now you're fine.
Tess helps Max to stand up. Seconds later, Michael withdraws his hand from the cone and looks at Max.
MICHAEL: It doesn't work without Isabel ...
ALEX: Why did he reject you, Max?
The three aliens look at each other, not knowing what to answer.
TESS: Let's go, Max ... I'm scared.
The five walkt out of the cave. The scene ends and we cut commercials.
We return from commercials with:
At Night - Sheriff Valenti's Office. Max is there again but this time he is sitting in the chair in front of the desk.
MAX: What are you going to tell me now? That your son committed suicide like Alex? Like Liz, Isabel and Maria? Is that what you're going to tell me, what you believe?
Valenti looks up from the papers on her desk.
VALENTI: They are all exactly the same.
MAX: Which proves that I am not crazy and that they did not commit suicide. There is a murderer on the loose.
VALENTI: I'm sorry, Max ... (Wipes his tears away.) I'm sorry I didn't believe you sooner.
MAX: Will you help us now?
VALENTI: Yes, I will ...
Max gets up from the chair.
MAX: I'm so sorry about Kyle ...
Valenti nods and Max leaves the office.
The scene ends and we cut to:
Middle of the night. A small house in one of Roswell's suburbs. Max is lying in bed, with his eyes open, unable to sleep. Tess is sleeping next to her, hugging him. We see some images, which are the memories and thoughts from Max:
Flash from "Pilot":
LIZ: Are you an alien?
MAX: I prefer the term "not from this Earth" ...
Flash from "Heat Wave":
MAX: I would have to do this ... (Max approaches and kisses Liz).
We see some scenes from the White Room and Pierce. Then we see Liz running away from the cave in "Destiny". We see the first time he sees her in "Skin and Bones" on the street. The image of Liz and Kyle together in bed.
Max gets out of bed slowly trying not to wake Tess up. He grabs a T-shirt from the chair and gets dressed. He leaves the room and walks down the hall to the kitchen. We see that there are some boxes around the house, as if they were just moving in or furnishing the place.
He enters the kitchen and stands in front of the burners. He looks at his hand for a few seconds and then brings it closer to one of the burners which lights up with fire.
He looks up at the cupboard and when he's about to open it, something in the corner of his eyes surprises him. He sees a white shoebox hidden at the top of the cabinet. He stands on tiptoes and pulls it out. He puts it on the counter and opens it. He starts taking out some photo frames and looks at them carefully. They are the pictureframes of Isabel, Liz, Maria, Kyle and Alex with the cracked glass where their faces are in the pictures. Exactly the same ones that we saw before.
TESS: Max, is something wrong?
Tess enters the kitchen rubbing her eyes. Max, startled, releases the picture frames, which fall to the ground.
The camera focuses on Max's face, which is between angry, hurt and vindictive.
The scene ends and we cut to:
Night - Minutes later. Tess is in the back of a car, her hands tied behind her back. Michael is driving and Max is sitting next to his wife.
Tess leans her head against the window.
TESS: What are you going to do to me?
Michael stops the engine and gets out of the car. He opens the back door and takes Tess by the arm, forcing her to get out of the car. Michael pushes Tess through the desert. Some rays of sun have already begun to appear on the horizon.
TESS: So Michael, the smart boy, now knows he's even smarter. He was not wrong when he thought that Tess had something to do with the death of Isabel and the others. You really are very smart, Mickey. But I don't care what you do to me now, because I already got to Liz's.
Max slaps Tess hardly on the face. She falls to the ground and Max thinks for a moment about what he just did; then, he lifts her up by grabbing the arm.
MAX: Come on, Michael.
The scene ends and we cut to:
Tess, Michael and Max inside the Granilit. Tess still has her hands tied. Michael and Max are standing in front of her.
MICHAEL: How does it work? (Michael points to the purple cone) How did you do this?
TESS: I don't know ..
MICHAEL (screams): How did you do it ?!
TESS: I already told you ... I don't know!
Michael wants to get closer but Max stops him. He approaches Tess and sits down next to her.
MAX: Look, Tess, we are not going to hurt you, not like you hurt us. Let's try to do this peacefully ...
TESS: Oh everyone, quite! The great Max is talking! Max, the leader. Max, the perfect one. Max, the King. Do you want me to bow to you? You are so stupid ... You can't go back; no one can do it. The Granilit only serves to create a parallel universe, but you cannot go back to the universe you started with. But I think you were too worried about the perfect Liz Parker that you never set out to find that out, right? What did she have that I don't have? Starting with that she was human, of course. (Pauses) I had to find some way for you to notice me, Max. I had nothing in my other life so it was easy for me to leave it behind. I used the River Dog stones combined with the orbs and the Granilit. The result was epic. 27 years of life together, Max. I could never have imagined anything better. But I did not count that one day we would all meet again. So I had to take more drastic measures ... It had taken me too long to get here and I wasn't going to let it go to waste.
MICHAEL: Why did you kill Isabel?
TESS: Vilandra was always a great competition at Antar. She never left me alone, even tried to kill me when she joined Kivar. If I killed her too, they would never have suspected me ... but I underestimated you, Mickey.
MAX: And you thought we were going to listen to you? Did you think we were going to want to return to Antar just like that?
TESS: It is the only option, Max. Either you come back, or you spend your whole life lamenting for poor Liz Parker. Can you believe it, Michael? Maria is dead. Dead. The only thing you loved in your entire life is buried three meters underground. Isn't that great?
MICHAEL (furious): Shut up!
The camera cuts from inside the Granilit to the violet, dawn sky and the stars still visible in the horizon. We hear a woman scream.
The scene ends and we cut to:
Again inside the Granilit. Tess is lying on the floor, inside it is quite dark and we see everything with a greenish tone. Michael is no longer there. Max sits next to her, lifts her head and rests her on his legs. He starts stroking her hair slowly.
MAX: I'm sorry, Tess. We surely had a beautiful life together.
Tess's face is stained with blood and she has trouble breathing. At the same time, she is crying.
MAX: I'm going to stay with you until it ends. And remember, you were never alone; once you had me, even if you lost me, Zan always loved you ... very much. But I am not Zan.
Max continues to stroke her hair. Tess raises her hand and takes Max's strongly. He brings it to his lips and kisses it. Then she closes her eyes and rests.
The scene ends and we cut to:
Night - Michael and Max are in a graveyard. Max is standing in front of a grave where we read Elizabeth Parker. Max bends down to leave a red rose on top of it. He waves his hand over it and the rose turns white.
Michael approaches and puts his hand on his friend's shoulder.
MICHAEL: Come on, Maxwell.
MAX: She was pregnant, did you know?
MAX: She not only killed Isabel ... but she also killed your unborn child. Ten weeks, that's what Valenti told me.
MICHAEL: Come on, Maxwell. Don't torture yourself anymore.
Max wipes tears from his face with his sleeve. They start walking towards the exit.
MICHAEL: How did ... the other Max ... go back in time?
MAX: I don't know ... Liz never told me.
MICHAEL: Do you think we can do that?
MAX: But we wouldn't be going back to our normal lives. We would only be going back in time to when we all met again.
MICHAEL: But if we find the way maybe we can go back and stop Tess from killing Isabel and the others.
MAX: If we find the way.
The two continue walking as they approach the cemetery gate. We start hearing music: Adagio for strings.
MICHAEL: This is ...
MAX: This is what?
MICHAEL: The end of the world ...
As Max and Michael walk away from the place the picture fades to black.