We open with:

Music: "Geronimo", Sheppard.

White screen where we read: "Two years later".

Day - Isabel's apartment.

We are in Isabel's room. In bed, under the covers, are Isabel and Benjamin. They are both awake and appear naked under the sheets. They laugh as they kiss.

ISABEL (between kisses): Please stop, I'll be late for class.

BENJAMIN (hides his face on Isabel's shoulder): You can skip it.

Isabel pushes him affectionately as she sits on the bed.

ISABEL: That would be the third time this month (she picks up a shirt off the floor and puts it on). You're leading me down a wrong path.

Benjamin winks at her and lies down on the bed, watching her. Isabel straightens her hair into a ponytail.

BENJAMIN: You know you don't need a degree, right? I can support you.

Isabel turns her body around and pretends to be shocked.

ISABEL: What kind of woman do you take me for, Benjamin Hinchcliff?

She smiles at him, gives him a quick kiss on the lips and gets up from the bed. Benjamin watches her closely as she heads to the bathroom. Isabel stops at the door frame, turns around and raises her left hand.

ISABEL (smiling): Besides, I don't see a ring on this finger.

Benjamin laughs as Isabel winks at him and closes the bathroom door. He moves the sheets off the bed and stands, looking around for his clothes. Suddenly, the door to the room opens and Maria enters, looking at her cell phone.

MARIA: Izzy, I'm heading for the airport.

Maria continues looking at her cell phone; she seems to be answering a text message. Benjamin looks at her in surprise and clears his throat. Maria finally looks up at Benjamin and, frightened, throws her cell phone on the floor. Her gaze travels Benjamin's body from top to bottom, quickly returning to his face when she notices that he is completely naked. Maria blushes.

BENJAMIN (smiling): Good morning, Maria.

Maria covers her eyes with one hand while with the other she starts looking for her cell phone on the floor.
MARIA (shouting into the bathroom, covering her face): Isabel, I'm off! (Quickly turns around and shouts again) And I think it's time for me to move!

Maria closes the door behind her with a bang. Isabel opens the bathroom door and pears her head out into the room. We hear the sound of the shower from the bathroom.

ISABEL (curious): What was that?

BENJAMIN: I think I scared Maria away.

Isabel laughs and looks at him suggestively.

ISABEL: Do you want to join me in the shower?

Benjamin nods, smiles mischievously at her and goes into the bathroom with Isabel.

We cut to:

Day - Crashdown Café.

Michael is sitting at one of the tables at the door of the Café, on the sidewalk. The day is sunny and we can hear the music from the cafe coming from inside ("Geronimo", Sheppard, continuation of the previous scene). He is sitting alone at the table with his body hunched over a pile of papers. On them we see drawings at various stages of completion. Also on the table is a box full of colored pencils from which he takes one and prepares to color.

We hear the sound of someone walking with heels on the sidewalk tiles, but due to the camera position we can only see the feet. Michael is absorbed in his drawing. The person stops next to Michael. A few seconds later we hear:

WOMAN: Those are beautiful.

Michael looks up in surprise and covers his drawings with his arms. The camera focuses on the woman next to Michael and we see that it is Emily (played by Minka Kelly). Emily is dressed in a white pantsuit and jacket. On her head she wears a black hat and glasses. She takes off her glasses and draws her right hand toward Michael's drawings.

EMILY: Your drawings are spectacular! (Michael looks at her suspiciously) Can I see?

Without waiting for Michael to answer, Emily sits on the chair opposite Michael and places her bag, hat, and glasses on the table, being careful not to touch the drawings.

MICHAEL: What are you doing?

Emily stretches out her hand to shake it with Michael.

EMILY: Emily, Art Consultant. (She pauses while waiting for Michael to shake hands with her) I was visiting a new artist in Albuquerque and decided to get to know the famous city of Roswell, New Mexico.

Michael continues to watch her suspiciously but finally decides to shake hands with Emily. She smiles.

EMILY (looking at the door of the cafe): I am lucky someone recommended this Cafe to me.

MICHAEL: What kind of work do you do?

EMILY: I tour the country looking for new artists and collectibles for a group of Galleries in Boston.

MICHAEL (surprised): Is that a real job?

Emily laughs and leans her elbows on the table, approaching Michael's drawings.

EMILY: I think you have a great eye, and a lot of talent. I particularly like how you use the colors. Some things you will surely be able to polish over time, but I don't see why you can't already have a small show in one of our galleries.

Michael looks at his drawings without much passion.

MICHAEL: This is just to pass the time.

Emily turns and waves to Liz, who has just come out of the cafe to bring a hamburger to a woman sitting at another table.

EMILY (to Liz): Honey, can you get me a coffee? No cream, no sugar, just coffee.

Liz nods while looking at them in surprise.

LIZ: Sure.

Emily turns her body back to look at Michael, turning her back on Liz. Liz looks at Michael and raises an eyebrow in question. Michael shrugs at her.

EMILY: What's your name?

MICHAEL: Michael.

EMILY (smiles): Well, Michael, I think this is the beginning of a great business relationship.

The scene ends and we cut to:

Day - Albuquerque Airport.

We see Maria leave the airport through the automatic doors to the drop-off and pick-up area. Among the people and cars we see a vehicle from the Roswell Sheriff Department. Maria walks through the crowd toward the car and smiles at Kyle, who is leaning against the passenger door, arms crossed. Kyle raises his arms in delight and begins to walk towards Maria.

KYLE: Maria DeLuca!

Maria jogs towards Kyle while dragging her suitcase. She leaves it on the ground and hugs him tightly. She moves away a few centimeters to look at her now half-brother, who is dressed in a police uniform.

MARIA (smiles): You're looking good, Valenti.

Kyle takes Maria's suitcase and places it in the trunk of the car. He walks to the driver's door.

MARIA: Who would have thought the uniform would fit you so well?

They both laugh as they get into the car.

KYLE: How was your flight?

Maria shrugs her shoulders. Kyle watches her for a few seconds and looks like he is going to ask something else, but regrets it at the last second. He starts the car's engine and starts driving, driving away from the airport toward the route. He turns on the radio and they both listen to the music in the background.

KYLE (staring at the road): How is Isabel?

Maria laughs and covers her face with a laugh.

MARIA: I knew it! (Slaps him affectionately on the shoulder) I knew you weren't going to last five seconds without asking about her.

Kyle seems sad.

KYLE: You know I didn't mean it like that...

MARIA: Kyle, you're a police officer now-

KYLE (interrupts her): In training.

MARIA (a little exasperated): Whatever. You know what I mean.

KYLE: I really don't know what you're talking about.

MARIA (laughing): It's been years, Kyle! Seriously, it's about time you let her go. (Smiles at him) Also, women love a man in uniform. (Making a seductive voice) And you look sexy ...

Kyle makes a gesture of wanting to vomit.

KYLE: Please, Maria, you are my sister.

They both laugh.

KYLE: Where am I taking you? Michael's or our parents?

MARIA (suddenly serious): Take me to the Fairfield Hotel.

Kyle looks at her in surprise.

KYLE: You're not staying with Michael?

Maria looks out the window for a few seconds towards the landscape. She rolls down the window a little and sighs as she feels the wind on her face.

MARIA: I would love to stay with my husband, but Liz is still living with him.

KYLE: What ?!

MARIA: Liz and her baby are living with my husband.

KYLE: But ... (pauses, thinking) I thought once they got back to Roswell and we all met the baby things were going to go back to normal.

MARIA (softly): As normal as you can get with an alien baby.

Kyle laughs a little.

KYLE (shaking his head): But Michael living with Liz and the baby? Now that's something I never thought I'd ever see.

MARIA (snorts): I know I shouldn't be mad because Liz lost Max ... and Michael is Zac's godfather after all. But- (she pauses, when she speaks again her voice becomes increasingly angry) but Michael is my husband, you know? He should be living with me in New York! Or at least traveling to visit me. Or doing anything else that involves me, you know?

Maria puts her hands to her hair and tugs on it tightly.

MARIA: It's so exhausting!

KYLE: Have you tried talking to them?

MARIA: I- (stops and looks at Kyle sadly) I know I should talk to them but- (stops again and tears come to her eyes).

Kyle shrugs.

KYLE: But what? (He looks at her seriously for a few seconds and then turns his eyes to the road) As I see it, yes, it is true that Michael is Zac's godfather ... but first he is your husband. And it's not like Liz is completely alone… she has her parents, and she knows that my father and I would do anything for that child.

Maria begins to tear.

KYLE: We haven't had any threats in two years. All is well. What is keeping Michael from living his life with you?

Maria smiles and wipes the tears from her face.

MARIA (smiling): I hate that you're right.

The scene ends and we cut to:

Day - Amusement park.

It is a nice day and people are dressed in summer clothes. In the park there are quite a few people, especially groups of young people, laughing and eating, as well as queuing for the different attractions.

Among the crowd, walking towards one of the attractions, we see Alex and Tess. She has longer hair than the last time we saw her and Alex is dressed a little more tidy than we have seen before, despite the relaxed atmosphere.

They both chat and laugh as they approach one of the attractions; it looks like a haunted house. There is not much of a line so they quickly approach the entrance.

TESS: Thanks for forcing me to come, I really needed to get out of my room.

ALEX: You're the only weirdo I know who enjoys summer classes.

They both laugh.

TESS: What else is there to do but study?

ALEX (speaks while gesturing with his hands): Mhh ... I don't know, maybe drinking, partying and making friends?

Tess shrugs.

TESS: Overrated.

They both look into each other's eyes for a few seconds. Their bodies move closer until someone in line touches Alex's shoulder. They both move and look at the person behind them.

YOUNG MAN: The line is moving.

Alex looks to his right, where the people in the row have almost disappeared.

ALEX: Yeah, sorry ...

Alex and Tess start walking towards the beginning of the line. The game is set as an abandoned house. A greeter dressed as a zombie butler awaits them at the door. He stares at Alex and Tess and approaches them, trying to scare them.

STEWARD: Do you dare enter the Haunted Farm?

Tess shrugs and Alex laughs.

STEWARD: This is no laughing matter, young lady. (Tess stifles a laugh) Many have wanted to discover the secret of the Sugarhill Estate ... but few have come out alive (the butler laughs maliciously).

Tess takes Alex's left arm and hides her face on his shoulder, covering her laughter.

ALEX: I think we're ready.

STEWARD: Are you sure?

Alex takes Tess's hand and shakes it. He approaches her and whispers.

ALEX: If a zombie catches me, will you use your alien powers to rescue me?

Tess looks at him and smiles as she nods.

ALEX (to the butler): We are sure.

The butler rubs his hands rejoicing, grabs the door handle, and opens the door. Alex and Tess step forward and enter the haunted house. The door closes fast and loud behind them. They both give a little jump of fright and then look at each other and start laughing.

Inside, we are in a dark hallway where ambient sounds such as antique clocks, creaking doors, and malicious laughter are heard. Alex squeezes Tess's hand, they both take a deep breath and step forward into the darkness.

We cut to:

Day - Amusement park.

We start listening to:

Music: Beyoncé, "Smash into you".

We are at the exit of the haunted house. The game's exit door opens and Alex and Tess run hand in hand, excited and laughing.

Tess stops on the walkway and rests her hands on her knees, taking a deep breath. She talks between laughs.

TESS: That was incredible!

Alex watches her, incredulous, with a hand to his chest.

ALEX: What? (He looks at her still scared) It was the most chilling experience I ever had!

Tess approaches Alex laughing. She rests her hands on his chest and stares at him.

TESS: More chilling than taking on aliens from another planet?

Alex brings her hands to Tess's waist and wraps her arms around her. He smiles at her. They both look at each other for a few seconds while taking deep breaths to calm down from the excitement of the game. Alex lowers his face to stare at Tess, while smiling, colliding head to head.

TESS (whispering): Alex?

Alex closes his eyes enjoying the moment. He smiles when she brings her hands up to his neck.

ALEX (also whispering): Yes?

TESS: I ... (looks for the words) I ... (closes her eyes).

ALEX: Yes?

Tess licks her lips, takes Alex by the neck and stands on tiptoe. She brings her body closer to Alex's and kisses him gently on the lips. Alex smiles on Tess's lips. Tess steps away from Alex and stares at him, her eyes fearful.

TESS: Is this okay?

Alex looks at her for a few seconds and then smiles.

ALEX: This is perfect.

He takes a deep breath and kisses Tess again, this time with fervor. She picks up momentum and jumps on Alex, who takes her by the legs as she hooks her body with his, returning the kiss.

The scene ends and we cut to:

Spaceship - Uncertain hour.

Max is in his room, sitting on the bed with his elbows resting on his knees, bent over looking through the window. His right leg trembles. He looks worried.

The door of the room opens and Katrina enters, dressed in a black one-piece suit fitted to the body, and her hair tied up. She quickly approaches Max and takes him tightly by the left arm, lifting him off the bed.

MAX: Where are you taking me?

Katrina looks at him seriously, she seems angry.

KATRINA: You are going to help us find your sister.

We cut to:

Spaceship - Uncertain hour.

We are in a spacious room with white floor, ceiling and walls. On the walls are some screens and buttons. Several people are working on the panels; they stop when the door opens.

Katrina enters the room holding a reluctant Max by the shoulders. Max stops in the middle of the room, where there is a small table with some metal elements.

MAX: What is this? What are you going to do to me?

Katrina fixes the sleeves of her suit and approaches Max.

KATRINA: Since you refuse to lead your people, we have to bring the next one in line for the throne.

MAX (surprised): My sister? (Laughs) You're crazy if you think she is going to do what you want.

Katrina hits the table angrily.

KATRINA: We don't need to ask her! It is her destiny, her obligation! (Takes her sight to one of the people in the room) It's time.

MAX: And how do you plan to get to her?

The person Katrina looked at approaches Max, takes one of the items on the table, which looks like a syringe, and sticks it into Max's left arm.

KATRINA: We all have a power, (Max rubs his arm where he was injected) We can even have more. How do you think the Royals were chosen? (Pauses) They were the ones with the strongest powers of all. (She takes an item from the table that looks like a small tablet. She presses a button on it and a small "beep" starts to sound.) You and your sister ... Antar had not seen powers like that for centuries ... (We see a small light that begins to flicker in Max's arm, to the rhythm of the sound of the tablet. When she speaks again, it is in a sad voice) We can't just let you go ... we can't lose you. (Stares at Max) We need our leaders, your powers, to rebuild our home.

Max watches her for a few seconds, troubled.

MAX: What do you want me to do?

Katrina points to Max's arm.

KATRINA: We injected you with a tracker. Your connection to your sister is strong, we just need you to try talking to her, and we will do the rest.

Max watches her incredulously.

MAX: How come you managed to find me on Earth and not her?

KATRINA (sighs): Your powers are like ... your DNA? Every time you use them, they leave a mark, an impression. The day you saved that girl, and when you fought Kivar-

MAX (interrupting): I used everything I had on me.

Katrina nods.

KATRINA: But since then we haven't been able to locate your sister.

MAX (thoughtful): She's not using her powers ...

KATRINA: Not enough for us to locate her. (She takes an elastic band from the table and places it on Max's head) But if you try to connect with her, we can trace her through you.

MAX: What if I don't want to?

Katrina snorts and stares at him for a few seconds. Then she looks around her at the room, where all the people have stopped working and look at them with longing. She turns her gaze to Max.

KATRINA: I don't think you have a choice.

Max looks around and then at Katrina. He closes his eyes, dejected.

MAX: What do you want me to do?

A person approaches Max and places a white chair next to him.

KATRINA: Sit there, close your eyes and focus on her. (She takes another elastic band from the table and places it on her head).

Max sits slowly on the chair, he closes his eyes and clenches his fists. He is angry and defeated. Katrina sits on another chair across from him and stares at him.

The camera focuses on Max's eyes and we see:

Isabel laughing in a restaurant; at the table we see Benjamin, Nate and Maria. Then we see Isabel walking down the streets of New York.

We return to Max and Katrina. She closes her eyes concentrating.

We see Isabel in her bathroom, a scene that we have seen previously.

KATRINA: Vilandra ... please help us.

Isabel's image begins to fade.

Max brings his hands up to his face and places them over his eyes.

Max screams. Katrina opens her eyes and looks at him in surprise.

We see an image of Liz in Michael's apartment. In her arms she has Zac, who is already two years old. She watches him with love while singing and dancing.

Max begins to cry.

MAX: No ...

KATRINA: What ...?

Liz and Zac dance to the rhythm of the song she is singing. Zac laughs and looks at her with love.

ZAC: Dad ...

Liz stops her dancing and looks at him in surprise.

Katrina removes the headband and quickly rises from the chair. She looks at Max in amazement as she breathes quickly.

Max cries while also removing the headband.

MAX: No ... (He places the rubber band on the table and holds onto it to stand, trembling) You can't ... (Looks at Katrina) Please, don't...

The people in the room look at them expectantly. The man we have seen on other occasions approaches Katrina.

MAN: What happened? Did we find Vilandra?

Katrina takes a deep breath to control her breathing, while Max stares at her and shakes his head.

KATRINA: Even better. (Looks at the man and smiles) We have his son.

The scene ends and we cut to:

Spaceship - Uncertain hour.

We are in another room on the ship; in it we do not find the same meticulousness that we have seen previously. The walls and floor are gray and a loud machine sound is heard in the background.

The room has a control panel in the center and, in front of it, we see a small cabin. Katrina is in front of the control panel pressing different buttons.

The man enters the room and looks at her, desperate.

MAN: Katrina, wait!

Katrina doesn't stop.

MAN: You need to be careful.

He approaches her and takes her by the shoulders, forcing her to turn around and look at him.

MAN: We only have energy left for two trips.

Katrina smiles.

KATRINA: It's everything we need. (She turns around, facing the board again) A trip and I find Zan's son... (Smiles) Another trip and we have our heir.

She moves away from the dash towards the passenger compartment.

MAN: Are you sure about this?

Katrina turns around before entering the cabin and looks at him.

KATRINA: It is our last hope ... the last heir of Antar.

The man nods and approaches the board. Katrina enters the cabin. They both look at each other for an instant.

MAN: Take care, Katrina... and be successful.

KATRINA (nodding): I will.

The scene ends and we cut to:

Day - Brown University.

We are in Alex's room at the university. It has a double bed, a wardrobe and a desk. It is decorated with posters of music bands and different pictures of his friends, and we see a bass resting on the desk. A warm light seeps through the white curtains.

In bed we see Alex and Tess sleeping. She is on her back and he is on his side, hugging her by the stomach.

Tess' face, which was placid until then, suddenly turns puckered. Alex wakes up and takes her by the shoulders.

ALEX (sighing): Tess ... Tess.

Tess growls in her dreams. Alex shakes her a little and she wakes up startled.

TESS (confused): What? What happened?

ALEX (stroking her forehead): You were dreaming.

Tess looks at Alex confused.

ALEX: Are you okay?

TESS: I think ... I think so.

She reaches out and takes Alex's hand in his. She adjusts her body on the bed to be face to face with him.

ALEX: What did you dream about?

Tess takes a few seconds before answering.

TESS (sighs): About Max.

ALEX (surprised): Again?

Tess nods. Alex strokes Tess's hair with his left hand. He caresses her face.

ALEX: You don't have to feel guilty about that.

Tess smiles weakly at him.

TESS: I know. But I can't stop thinking about him. What if- (pauses) What if he's alive... lost somewhere? And we're not doing anything to find him?

ALEX: But you have tried everything to find him.

He runs a hair from Tess's face. Tess closes her eyes with regret. Alex brings his face close to hers and kisses her gently on the nose.

ALEX: You look cute when you worry.

Tess raises an eyebrow, incredulous.

TESS: Cute?

Alex smiles and moves over Tess again, kissing her softly on the lips.

ALEX: Yeah… cute.

Tess laughs and kisses Alex. After a few seconds, she gets serious again.

TESS: Alex ... I-

ALEX (interrupts her): You don't have to worry, Tess. I know you, I know your story and, (takes a deep breath and smiles) I want to be here. With you. We will take it slow, however long it takes. No one needs to know.

Tess strokes his chin and smiles. She pulls the sheet off her body and sits on top of Alex.

TESS: No one needs to know.

The scene ends and we cut to:

Night - Hotel.

The room is large, it has a king bed separated by two doors (which are open) from a slightly smaller living room. In the living room there is a table with four chairs and a balcony with the doors open. We do not see well on the outside as it is dark, but there is a slight breeze that moves the curtains.

Maria stands barefoot and dressed in a short dress in front of the table, pouring herself a glass of wine. Meanwhile, she shakes slowly as if dancing. She seems happy. She takes a sip of wine.

We hear a knock on the door; Maria leaves her glass on the table and heads quickly towards the door. She opens it with a wide smile on her face. On the other side of the door, we see Michael, dressed in a Metallica shirt and black jeans.

MARIA: Spaceboy!

Michael enters the room as Maria lunges at him. Michael holds Maria by her legs and she hugs him with her body. She kisses him hard on the mouth.

MARIA: You're early.

Michael smiles and pushes open the door to the room with his body.

MICHAEL: I couldn't wait any longer.

Maria laughs and she starts kissing him as he walks towards the room with her in his arms.

We cut to:

Night - Hotel room.

The room is only lit by one of the night lamps next to the bed. On the bed we see Michael and Maria. He is in his boxers sitting with his back resting on the bed's backrest. She, with untangled hair, is sitting over his legs and is wearing shorts and Michael's shirt from before.

Michael slowly caresses Maria's arms and she puts her hands on his chest. She looks at him seriously.

MARIA: I think it's about time you moved to New York with me.

Michael takes a deep breath.

MICHAEL: You know I can't do that ... (pauses) at least not for now.

Maria looks at him confused.

MARIA: Why not? Liz can take care of Zac... and she has her parents.

Michael avoids Maria's gaze and takes another deep breath.

MICHAEL: I have to take care of them.

We start listening to:

Music: "Million reasons", Lady Gaga.

Maria turns away from Michael and looks at him angrily.

MARIA: And I don't deserve your care?

MICHAEL (stares at her): I'm taking care of you, too.

Maria quickly gets up off Michael and off the bed and stands up facing him.

MARIA: And how do you plan to do that on the other side of the country?

Michael takes a deep breath.

MICHAEL: That's just how I'm taking care of you.

Maria crosses her arms over her chest. She starts to get angry and we can see it in her face and hear it in the tone of her voice.

MARIA: What are you talking about?

Michael puts his hands to his face and covers it.

MARIA: It's been two years, Michael. Two years! And in all this time I didn't say anything about Liz and Zac ... I accepted that you are his godfather and she was sad about Max and she needed company. But I can't wait any longer. You haven't even come up to visit me… not even once. (She pauses. She takes a deep breath and we hear her voice break) Not once. Do you know how lonely I have felt all this time?

Michael suddenly drops his hands from his face and gets up from the bed, approaching Maria.

MICHAEL: Everything I've done is to protect you.

MARIA: Protect me from what? (Michael doesn't answer) What are you so afraid of? Nothing has happened in the past two years. Absolutely nothing!

MICHAEL (replies furiously): That's because I have stayed away from you!

Maria looks at him dumbfounded. She raises her hands in defeat and turns around, walking to a suitcase on the floor.

MARIA: I'm so sick of this. (She bends down to grab a jean from the suitcase) I'm sick of all your excuses.

Michael takes a deep breath, taking courage.

MICHAEL: It's your father.

Maria is suddenly paralyzed, jeans in hand, looking at the suitcase.

MICHAEL: It's because of your father that I can't go to New York with you.

Maria turns around and looks at him with tear-filled eyes.

MARIA: My father? What the hell?

MICHAEL: Your father is part of the FBI, he- (pauses, taking courage) he found me. He found us. He knows about me, about Isabel, about Liz and Zac. (He tries to get closer to Maria but she raises a hand to stop him) He … threatened me. He promised not to reveal our secret if I kept away from you.

Maria looks at the ground for a few seconds. She finally looks up at Michael, looking serious.

MARIA: When did this happen?

Michael doesn't answer.

MARIA (screaming, angry): When?!

Michael opens his mouth to respond, but doesn't feel encouraged. Maria drops the jeans to the floor and puts her hands to her face.

MARIA: I can't believe it ... (She takes her hands off her face and looks at him furiously) All this time ... (She points a finger at him) All this time you've known where my father was and you didn't tell me!

MICHAEL (in a broken voice): I was protecting you ...

MARIA: Protecting me ?! (Furious) I don't need your protection... especially not from my father! (She approaches Michael and hits him with both hands on the chest, pushing him. Michael falls sitting on the bed) I've lived over 20 years without his help. And you hid everything from me!

Michael reaches out to try to catch Maria's hands, but she rejects him and steps away from him, crying.

MICHAEL: Maria ... I'm sorry. I'm truly sorry.

MARIA: No! (She shakes her head furiously; she doesn't stop crying) If you felt that you would have told me years ago. You let me think that- (closes her eyes) I came to think that you didn't love me anymore, and that's why you didn't want to move to New York.

Michael quickly gets up from the bed and goes to Maria, holding her tight. He caresses her and kisses her hair.

MICHAEL: It's because I love you that I did that. (He kisses her hair and laughs a little) God, Maria ... all I do is because I love you. You are my whole world.

Maria seems to yield for a few seconds to Michael's hug and takes him firmly by the waist. Some seconds later she starts shaking her head and pushes Michael away. She wipes the tears from her face.

MARIA: You say that ... but still you lied to me. (She stares at him and her voice breaks) You lied about my father… But the worst thing- (she pauses and wipes the tears from her face again) is that you lied about us.

Michael begins to cry. Maria puts her hands to her hair and ties it up. She closes her eyes and drops her hands, dejected.

MARIA: I need ... (sighs and looks for her jeans on the floor. She starts to put them on) I need to get out of here. I need to think.

The scene ends.

Day - Scotland.

The camera shows us a castle on a cliff, full of vines. Around the castle we see a beach and the sea after the cliff, and on the other slopes a meadow and a lush forest.

The camera zooms in on one of the windows on the ground floor of the castle. Through it we see Isabel and Maggie sitting on the floor, playing with a dollhouse.

The room is spacious and looks like a music room, with a piano and some other instruments decorating it. There is also a fireplace that is on, despite the good weather outside.

In the room we see other people, all dressed, like Isabel, in elegant sport clothes. Some are drinking cocktails and talking while the rest are playing board games like cards or chess.

Isabel sits on the floor while stretching her dress on her legs. Maggie takes one of the dolls on the floor and places it in one of the rooms in the dollhouse. Isabel smiles.

ISABEL: I like how you've decorated it.

Maggie adjusts the doll in the house.

MAGGIE: My mother sends me a new one every month. (She looks at Isabel and shrugs) She does it to compensate that she never comes to visit me. (She takes the doll again and adjusts its hair) She doesn't even know she gave me the same one three times this year.

Isabel strokes Maggie's hair.

ISABEL: I'm sorry.

Maggie shrugs.

MAGGIE: It doesn't even bother me anymore. (She looks at Isabel and smiles at her) I like you better.

Isabel laughs.

A short distance away, we see Benjamin who is standing next to a group of people, talking with a drink in his hand. However, he has kept his eyes on Maggie and Isabel throughout the conversation. He decides to approach them, leaving his drink on a waiter's tray.

He squats down next to Maggie.

BENJAMIN: Are you having a good time?

Isabel smiles at him and nods. Benjamin strokes his daughter's shoulder.

BENJAMIN: Can I steal Isabel just for a sec?

Maggie looks at him seriously.

MAGGIE: But we are playing!

Isabel and Benjamin laugh.

BENJAMIN: It will only be for a few minutes, I promise.

MAGGIE (to Isabel): Come back quickly, I want to play the new songs I learned on the piano.

Benjamin stands up and reaches out his hand to take Isabel's. She kisses Maggie on the head and stands up.

ISABEL: I'll be back soon.

She takes Benjamin's hand and walks away from the scene with him.

We cut to:

Sunset - Scotland.

We are on the beach next to the castle. It is quite deserted, except for a woman playing with a child and Isabel and Benjamin walking near the shore. Both are dressed in the same clothes as the previous scene; she is wearing a short white knee-length dress with red flowers, he is wearing a light blue suit. They both carry their shoes in their hands as they walk barefoot on the sand. In the distance we see the castle.

ISABEL: I think your sisters hate me.

Benjamin laughs out loud.

BENJAMIN: What makes you think that?

ISABEL: They always treat me with so much- (pauses) disdain. Haven't you noticed that they never speak directly to me ? They always ask you questions about me, even if I'm sitting right next to you. (Kicks the sand thinking) And every time we see each other they make a show of not greeting me.

BENJAMIN (hugs her by the shoulders and kisses her forehead): Don't take it personally, they are like that with everyone.

ISABEL: Of course I take it personally, they do it right to my face!

Benjamin gives a little laugh.

BENJAMIN: What I'm saying is that they have always been like this. You have to think that I was the only one who decided to leave this island and make a life out of my family. They have always lived surrounded by social events, castles and all the things my parents bought them to make them happy. It is the only thing they know... so it is understandable that they want someone like them for their younger brother.

Isabel raises an eyebrow and stares at him. Benjamin smiles and kisses her quickly on the lips.

BENJAMIN: It doesn't mean I want that for me. They only have trouble relating to you because you are ... different from them.

ISABEL (laughing): That's right.

Isabel looks for a few seconds towards the castle and thinks.

We start listening to:

Music: "How you get the girl", Ryan Adams.

ISABEL: Thanks for bringing me here. (Leaning on Benjamin) This is my new favorite place. (She hugs her body and moves her hands over her arms, warming herself) Despite the cold. Is this really what you call summer?

Benjamin stops his walk, takes off his jacket and places it on Isabel's shoulders. She passes her arms over the sleeves. She smiles at him and kisses him on the lips.

ISABEL: Thank you.

BENJAMIN: Isabel ...

Benjamin stops and Isabel looks at him expectantly.


Benjamin takes a deep breath and places his hands inside his pants pockets.

BENJAMIN: I have been waiting a long time to do this.

Isabel looks at him confused.

ISABEL: What's up?

BENJAMIN: I've been carrying this with me for years... waiting for the perfect moment. But all the moments are perfect when I'm with you, so... I don't want to wait any longer.

Benjamin runs his left hand through his hair, breathes and takes courage. He takes his right hand out of his pocket and we see that he has something inside his hand. Isabel makes a sound of surprise. Benjamin brings his hand up to his chest and opens it, inside we see a small red velvet box.

Benjamin looks up and stares at her.

BENJAMIN: Since that night in New York ... when I saw you at the bar-

ISABEL (interrupting him): At your going away party?

He nods.

BENJAMIN: I bought it the next morning, before I got on the plane to Shanghai.

Isabel takes a deep breath. Her eyes begin to look glassy. Benjamin opens the box and inside it we see a ring with a large red diamond.

ISABEL (smiles in surprise): It's red!

Benjamin nods and begins to bend on his right knee. He holds the box toward Isabel's sight.

BENJAMIN: It's the color of the dress you were wearing the day I realized I was in love with you.

Isabel begins to cry and dries the tears from her face with the sleeve of Ben's suit.

ISABEL (smiles broadly): Yes.

Benjamin looks at her in surprise for a few seconds.



Isabel leans down to Benjamin, takes his face in her hands and kisses him on the lips. Benjamin takes her by the waist and passionately kisses her back.

ISABEL: Are you going to put it on my finger?

They both laugh. Benjamin looks at the ring.

BENJAMIN: I had this whole speech planned ... if I had known it was so easy we wouldn't have come all the way to Scotland.

Isabel laughs and slaps him affectionately on the shoulder.

ISABEL: Can you put it on my finger, please?

Benjamin takes the ring from the box and puts that back in his right pocket. He looks at the ring for a few seconds and then at Isabel's eyes.

BENJAMIN: Isabel, (he pauses and Isabel begins to nod, while crying) would you marry me?

ISABEL: Yes, I will marry you tomorrow, I would have married you yesterday, and I would marry you always. Yes.

Benjamin places the ring on Isabel's ring finger and kisses her again.

The scene ends and we cut to:

Night - Roswell.

We are in Michael's department. Through the windows we see the lights on inside and we hear the sound of the television. Liz is standing by the kitchen breakfast bar folding baby clothes.

In the courtyard we see a silhouette stealthily moving towards one of the windows, looking towards the other room. There is Zac sitting on a light blue carpet playing with his toys. The silhouette moves closer to the window and rests his hands on it. We notice, thanks to the lighting in the room, that the silhouette belongs to Katrina.

Zac stares at one of the cubes on the floor. The cube begins to tremble rapidly and rises a few inches from the floor. Zac smiles, admiring what he's done. Katrina puts her hands on the window and watches the scene in amazement.

Zac continues watching the cube that, suddenly, shoots towards the ceiling to return to fall on the floor. Liz appears in the room with a scare on her face.

LIZ: Honey, what happened?

Zac points to the cube on the ground.

LIZ: Did you hurt yourself?

ZAC: No, it fell.

Liz smiles and squats down next to him, taking him from under his shoulders to lift him up. She brings him close to her chest and stands, kissing his forehead.

LIZ: What do you want to eat tonight?

ZAC (raising his arms): Sausages!

Liz looks at him and laughs, she is about to turn her body to leave the room when she notices something strange in the window. She looks towards it and sees two silver marks of palms on it. Scared, she lowers Zac to the floor.

LIZ: Honey, go into the kitchen and hide under the cupboard, like we practiced.

Zac looks at her scared.

ZAC: Did they come for me, mommy?

LIZ (gently pushes him out of the room): Zac, just do what I said.

The scene ends and we cut to:

Night - Michael's apartment.

Kyle and Liz are in the room. Liz is by the door, her body resting on the frame, looking at Kyle. He approaches the window where the palm marks are still shining in silver color.

KYLE (observing them but not touching them): You think an alien did this?

LIZ (remarkably scared): Who else could leave such marks?

Kyle turns his body to look at her.

KYLE: Do you think it could be… (searches for the word) Kivar?

Liz puts her hands to her face and sighs.

LIZ: I don't know ... I don't think so, we saw Max defeating him.

KYLE: Any other enemy?

Liz walks over to the window.

LIZ: I was always afraid the FBI would find us. (Looks at Kyle sadly) God, I'm even training my son to run away from them. (Shakes her head) But from an alien? How am I going to do that?

Kyle looks at Liz with a dismayed face.

LIZ: They have powers, and I don't. (Takes a deep breath) Kyle, what if they want to take him to Antar? I can't let that happen.

Kyle approaches Liz and hugs her by the shoulders.

KYLE: I won't let them. (Strokes her friend's back) I think I'd better stay with you tonight. (Liz nods) I'll patrol around the block, just in case.

Liz smiles weakly at him.

LIZ: Thanks, Kyle.

KYLE: I would do anything for you and Zac. (He walks away towards the door) But don't make me eat your sausages, please.

They both laugh.

The scene ends and we cut to:

Night - New York.

We are in Maria's new apartment. It is the same that we have seen in previous episodes, but she's just moving in, so it doesn't have furniture yet. There are several boxes scattered around the living room and the only furniture that has been placed is a wall piano and a TV station.

We see Maria and Isabel, each with a glass of wine in hand. Isabel opens one of the boxes and looks inside.

ISABEL: I can't believe you had so many things in my house.

Maria opens another one of the boxes with one hand, while taking a sip of wine with the other.

MARIA: Well, you let me live with you for two years.

Isabel laughs.

ISABEL: Remind me again how I let that happen.

Maria looks up at Isabel.

MARIA: You know that I will be eternally grateful, right?

Isabel looks at Maria as she places a book on the tv station, that she just took out of the box.

ISABEL: Please, you have already thanked me a hundred times. (Smiles mischievously) But I'll find a way for you to pay me back.

They both laugh out loud. Maria takes a sip from her glass.

MARIA: So ... (takes something else from inside her box) When are you moving in to Benjamin's?

Isabel arranges the book with extreme care. She seems to be avoiding answering.

MARIA: Oh come on. You think I haven't noticed that ring?

Isabel looks at her ring on her left hand and smiles.

ISABEL: It's beautiful, isn't it?

Maria leaves the object inside the box and approaches Isabel. She takes her hand to look at the ring.

MARIA: It is extraordinary. Congratulations.

She looks at her and smiles. Isabel takes Maria's hand and looks at her seriously.

ISABEL: I'm sorry, I wanted to tell you… but I wanted to wait until everything- (stops and looks at Maria sadly).

Maria walks away from Isabel while drinking her wine. She makes a gesture of disinterest with her hand.

MARIA: Oh, it's okay.

ISABEL (sadly): But ...

Isabel stops. Maria looks at her seriously for a few seconds.

MARIA: Isabel, you are my friend. No matter what is going on in my life, you know you can always count on me. (She approaches Isabel and takes her hand again) Especially if it is something like this! (Maria smiles and raises Isabel's hand. Isabel laughs).

MARIA: You're getting married!

ISABEL (screaming): I know!

They both hug and give a little jump of joy. When they part, Isabel adjusts her ring looking enchanted, then turns her attention back to the boxes.

ISABEL: We're going out to toast and celebrate. (Takes a sip from her glass and stares at Maria) But I need to know how you are.

Maria looks at her and sighs.

We cut to:

Night - Art Gallery.

We are in an empty gallery, except for the paintings on the wall. Michael is standing looking at one of them, which is subtly illuminated. We recognize the paintings as belonging to Michael. He is dressed elegantly in gray dress pants and a white shirt. He carries his hands inside his pants pockets, while contemplating his work. Michael sighs.

We hear footsteps approaching Michael; they sound like high heels. We see Emily approach Michael, with two glasses of champagne in hand. She stands next to him and taps his shoulder gently. She is wearing a pantsuit similar to the one we have seen before, but this time is red.

EMILY: Congratulations. (She hands her the glass and they both toast with their drinks). A great show.

Michael drinks all of his champagne quickly. He says nothing and sighs again.

Emily looks at him a little surprised. She bumps her shoulder into his.

EMILY: Come on, it wasn't that bad. Attendance could have been better, but for a first show it was a complete success. We even sold this painting! (Raises her glass and looks at the painting) I thought I'd finally meet your wife tonight.

Michael looks at her, surprised and angry. Emily laughs.

EMILY: You talk about her so much but I haven't even met her once in all these months we've been working together. (She finishes her drink and slaps Michael on the shoulder again) We even made a bet on her existence.

Michael steps away from her. Emily laughs, takes Michael's glass and sets both glasses on the floor.

EMILY: Oh come on, Michael. You have to admit it's funny. (Takes him by the arm) You need to enjoy your moment, this incredible achievement.

Michael looks at the gallery around him.

MICHAEL: I guess you're right.

EMILY (smiling): Of course I am. (She takes Michael's hand and leads him towards the middle of the room) Now, we're celebrating properly.

Michael looks at her strangely.


Emily takes out her cell phone from a pocket of her pants. She presses on the screen and we begin listening to:

Music: Annie Lennox, "I put a spell on you"

EMILY: We're dancing. (Smiles at him) And drinking. (Begins to move to the rhythm of the music) And living in the moment.

We cut to:

Isabel and Maria.

Music: continuation of the previous scene.

ISABEL: How do you feel?

Maria sighs and closes her eyes. Her voice begins to break.

MARIA: I feel horrible. (Opens her eyes and crosses her arms over her chest, like hugging herself) I don't know what to do, I don't know what to think. (She takes a breath) Michael lied to me for so long but-

She stops and starts crying.

ISABEL: It's Michael. (She approaches Maria and begins to caress her arms) And he's the love of your life.

Maria nods.

MARIA: I want to forgive him, but at the same time, I feel like we're miles away. (Breathes and wipes tears from her face) Maybe ... maybe we don't want the same things anymore. (Shrugs) Maybe we matured as people and ... our relationship-

ISABEL (interrupting her): You're thinking about breaking up?

We cut to:

Michael and Emily.

Both are at the gallery, Michael with a bottle of champagne in hand while the two dance to the music. Emily reaches out to take the bottle from Michael's hand, while smiling and suggestively approaching him.

We cut to:

Maria raises her hands to her hair and breathes obfuscated.

ISABEL: Maria, do you really want to separate from Michael? (She puts her hands to her chest) Because if that is what you want and would make you feel better, I'm on your side. One hundred percent.

She stretches out her hand and takes Maria's, shaking it lovingly. Isabel looks down at the floor and her face turns to an expression of fear.

ISABEL: Maria, are you alright?

Maria looks at her strangely. Isabel points to the ground. The camera focuses on Maria's legs, where we see blood running down but concentrating on her crotch area.

Maria looks down in surprise and takes a step back. She touches the blood on her leg and looks scared at Isabel.

MARIA: What is this?

We cut to:

Emily leaves the empty champagne bottle on the floor and gets closer to Michael; their bodies glued together. She smiles as she puts her hands on Michael's shoulders. He closes his eyes and looks down, without returning the gesture. Emily brushes her body with Michael's to the beat of the music. She looks up at his face and brings her head closer, kissing him on the lips.

The scene ends and we cut to:

Night - Supermarket.

We are inside a grand Target. We hear the ambient music as we see some people walking with their carts among the aisles, choosing products.

On the cereal aisle, we see Liz, standing next to a cart with Zac sitting inside of it. The boy is playing with two dinosaur toys in his hands while Liz chooses a product and places it inside the cart.

We hear a knock and Liz's cart moves forward. She looks up in fright and looks to her left, where another cart has collided with hers. We hear a woman's voice as she walks down the aisle.

WOMAN: I'm so sorry! These carts have a life of their own.

The woman appears next to Liz and takes her cart.

LIZ: Don't worry. These things happen.

Liz turns to look at her and we see that the woman is Max's mother. The expression on both their faces changes dramatically.

DIANE (wearily): Oh, Liz.

LIZ (harshly): Diane, how nice to see you.

Diane looks at Zac with disdain and then again at Liz. Zac continues playing with his dinosaurs, without paying attention to the two women.

LIZ: You could say hi to Zac. He is your grandson.

Diane stares at her for a few seconds.

DIANE: That's what you say.

Liz looks at Zac and moves a few inches away from him; she lowers her voice so that he doesn't hear her.

LIZ: You can't be that stupid, Diane. (Takes a deep breath) Why are you pushing him so far away? Zac deserves to have a relationship with you, with his family. It's the only thing he has left of his father. (Pauses) Zac is the only thing you have left of Max. (She pauses again) He's the only thing we both have left of him.

Diane looks at Zac for a few seconds and thinks. For a moment she seems to soften her expressions, but suddenly she turns her gaze back to Liz.

DIANE: My son is not dead, he will come home. That you have had so little faith in that outrages me.

Liz starts to get nervous, looking for words to reply to Diane.

DIANE: Have a good night, Liz. Say hi to your parents for me.

Diane takes her cart again and walks down the aisle. Liz looks at her with hatred and seems to have tears on her face.

The scene ends and we cut to:

Night - Supermarket.

We are in the Target parking lot. We see Liz leave the supermarket with a shopping cart full of bags and Zac sitting on the cart's child seat. Liz pushes her cart into the parking lot. It is almost empty, with only four cars parked, widely spaced from each other.

She reaches her car and leaves the cart next to the car's trunk, to easily load the groceries.

Suddenly the parking lot lights go off and everything is dark. Liz makes a scared sound and looks around her. We hear the sound of bottles falling and rolling across the floor. Liz raises her hands trying to catch Zac but a force pushes her towards the car, and the cart with Zac moves fast towards the other side of the parking lot.

LIZ (scared): Who's there?

We hear a breath and someone's steps approaching her.

LIZ: Zac! Where are you?!

The parking lights come on. We see Katrina a few feet from Liz, holding Zac in her arms. Liz stretches her arms towards Zac and begins to walk towards him.


Katrina turns her body, hiding Zac from Liz.

KATRINA: Not one more step.

Liz stops, scared.

LIZ: Who are you? What do you want?

Katrina squeezes Zac in her arms, who tries to sneak away from her.

KATRINA: I am part of Antar's royal guard.

Liz is surprised.

KATRINA: I am in charge of taking care of Zan.

LIZ (sighs): Max?

Zac looks at Liz and then quickly at Katrina.

ZAC: You have dad.

Katrina ignores Zac, who puts his arms around her neck.

LIZ: What are you doing here? (Looks around, looking desperate) Where's Max?

KATRINA: Zan is safe ... at least for now. But our enemies are closing in again.

Liz perks up and walks back to Katrina, who reaches out to Liz.

We start listening to:

Music: Ruelle, "Genesis"

KATRINA: Not one more step!

Liz stops again. Katrina does not realize that Zac is tightening her neck more and more with each second.

LIZ: Leave Zac alone. Take me, if you want.

Katrina denies.

KATRINA: It's him we need.

Liz looks at Zac desperately.

ZAC (to Katrina): Where's dad?

Katrina looks at him in surprise.

KATRINA: Your father is waiting for you. (Zac looks at her expressionlessly, she tries to smile at him) You are the heir of a powerful nation, you must be with your people.

ZAC: You hurt dad.

Katrina looks at him confused. She begins to shake her head as Zac clenches his hands around her neck.

LIZ: Zac, what are you doing?

ZAC: I won't let them keep hurting dad.

Katrina looks at Liz and then at Zac with fear. She tries to detach herself from the boy but he has a hold on her neck. We see that under Zac's hands a silver light begins to shine. Liz runs towards them.

LIZ: Zac, don't!

The light under Zac's hands grows with so much power that it hits Liz as she tries to get closer to them and knocks her to the ground. She covers her eyes, blinded by the light.

The parking lights flash for a few seconds until they all go out suddenly. Two seconds later, they light up again. Liz takes a deep breath, opens her eyes, and slowly sits up. She looks up at where Katrina and Zac were, where now we see only Zac, standing in the middle of the parking lot wrapped in an ash shower.

LIZ (sighs, looking at the ashes around them): Honey, what have you done?

The scene ends and we cut to:

Night - Hospital.

We are inside one of the hospital's rooms, where we see Maria dressed in a light blue and white robe, lying on the bed. The room is individual, so it is only for one patient. Maria is with her hair tied up in a ponytail and we notice tiredness and discomfort on her face. She is lying in the fetal position, with her body resting on her left side, facing the room's window. The window has the curtains drawn and outside we see the lights of the city of New York.

Isabel is sitting in an armchair in front of Maria's bed, with her bare feet resting on it. She looks nervous, while she seems to be eating her nails.

ISABEL: Are you sure you don't want anything to eat?

Maria shakes her head. We go to a flashback:

We are in the same hospital room but earlier in the day. Maria is dressed in the same robe and is sitting on the bed. Isabel is a few steps from Maria looking at her worried, with a hand to her mouth. Next to Maria we see a doctor.

The doctor sits on the bed, next to Maria, and takes her hand.

DOCTOR: I'm so sorry, Maria.

Maria looks at her confused.

MARIA: What happened?

The doctor caresses Maria's hand and looks at her sadly.

We return to the present:

ISABEL: Maybe something to drink?

Maria denies again, both times without changing her position.

We go back to the flashback:

MEDICA: You had a miscarriage.

MARIA (surprised): What? I had a what? (Pauses, thinking) I was pregnant?

The doctor nods.

MEDICAL: Ten weeks long.

Maria puts her hands to her face.

MARIA: I… I didn't even know.

The doctor continues to look at Maria while waiting for her to remove her hands from her face.

DOCTOR: The important thing is that you don't blame yourself for what happened, Maria. None of this is your fault. (She pauses and breathes) But there is something else I need to tell you…

Isabel takes a step closer to the bed, scared.

MARIA: What is it?

MEDICAL: We run some tests and ... (reaches out to take Maria's hand again) the cause of the miscarrige was due to a malformation in your uterus.

Maria looks at Isabel with fear and then at the doctor.

DOCTOR: I'm so sorry to have to tell you this, Maria, but- (pauses) you can't have children.

We come back from the flashback to the present.

Isabel rises from the chair and approaches the foot of the bed.

ISABEL: Do you want me to call-?

Isabel stops when Maria suddenly turns her head and stares angrily at Isabel, to prevent her from saying Michael's name. Isabel sighs.

ISABEL: Do you want me to call your mother?

Maria brings her gaze back to the window. She takes a few seconds to respond.

MARIA (her voice is heard in a low, raspy tone): Call Liz, please.

The scene ends and we cut to:

Night - Providence.

Music: "What you know".

A college bar in the city. Groups of young people enter the place, talking, laughing and smoking. The bar inside is dark and almost full. The young people are dancing to the music, drinking beers and other alcoholic drinks, most of them looking towards the stage. On it there is a music band that is playing the song we listen to. We see Alex playing the bass and singing.

Tess is a few feet away from the stage, her left arm resting on a high table while holding a beer glass in her right hand. She looks at Alex and smiles broadly.

Alex looks down at Tess for a few seconds. They both look at each other; He smiles at her and she blows him a kiss.

We cut to:

Music: Continuation of the previous scene.

We are in an alley next to the emergency exit from the bar. There is a white van there where Alex is storing music equipment. A couple smokes and drinks a few feet from the van. The emergency door opens and Tess leaves the bar and jumps up to Alex.

TESS: That was amazing!

She hugs Alex and he kisses her on the forehead. He bends down to fix some cables.

TESS: Seriously Alex, I think that was your best night yet.

Alex looks up and smiles at her, a little nervous.

ALEX: You really think so?

Tess nods while smiling. She bites her lip and then looks sideways at the alley that is empty except for the couple, who are now engulfed in a passionate kiss.

TESS: Where's the rest of the band?

Alex stands with the cables in his hands and looks at them in concentration, as he begins to untangle them. He shrugs.

ALEX: I think they stayed inside to talk to a group of sorority girls.

Tess raises an eyebrow.

TESS: And you're all alone out here?

Alex shrugs again. Deliberately, he doesn't look at her and concentrates his eyes on the cables, despite already being untangled.

ALEX: I already met my girl.

Tess blushes. She looks down for a few seconds to the floor and then looks up again. This time, she finds Alex staring into her eyes.

TESS: Is that girl me?

ALEX: If you want it to be...

Tess keeps her hands in the back pockets of her jeans and bites her lower lip. She sways on her feet nervously.

TESS (nodding): I'd love to.

Alex lets go of the cables, approaches Tess and presses his body against hers. He rests one hand on Tess's waist and the other on the nape of her neck, bringing her close to him.

ALEX: So it's decided. You are my girl, Tess Harding.

Alex kisses her for a few seconds and then separates and smiles at her. He looks at the instruments still on the sidewalk.

ALEX: And therefore, you must help me get all of this into the truck.

Tess laughs and hits him affectionately in the chest, pulling away from him.

The scene ends and we cut to:

Spaceship - Uncertain hour.

We are in the last room we saw, where Katrina was transported to earth. We are a few seconds after Katrina has entered the cabin.

MAN: Take care, Katrina, and be successful.

KATRINA (nodding): I will.

We hear a high-pitched sound mix with the noise of the machines in the room. A light begins to grow inside the room where Katrina is, blinding the man. He covers his eyes, pulling his body away from Katrina. The light disappears at the same time that all the machines turn off. The room is suddenly dark.

The man opens his eyes. Two seconds later, the machines restart slowly, and the room lights up again dimly. The man slowly approaches the control panel and touches a few buttons, watching the screen.

The camera focuses on his face as he reads the information on the screen. Slowly, the expression on his face begins to change and we see fear.

MAN (whispering): It can't be …

He writes something on the keyboard of the control panel while denying.

MAN: This can't be happening ...

The scene ends and we cut to:

Night - New York.

We are in Maria's new apartment. It looks almost the same as the last time we saw it, with several unopened boxes, and only the piano, an armchair and TV set with some books and a television as furniture. The television is on, showing a news channel.

Maria is lying on the couch on her right side. She looks emaciated, with pale skin, dark circles under her eyes, and her hair is tied back in a bun without much care. She is wearing only a gray T-shirt, several sizes larger than her, with the logo of a music band. It appears to be one of Michael's shirts.

Slowly and with difficulty she gets up, sitting on the couch. She bends down to find a glass of wine on the floor; she picks it up and drinks much of its content.

We hear two knocks on the door. Maria looks at the door and takes another sip of wine. Someone knocks two more times and we hear Nate's voice outside the apartment.

NATE: Maria?

Maria closes her eyes and leans her back on the couch. Nate knocks on the door again, this time three times.

NATE: Come on Maria, I know you're in there. (He pauses) Isabel says that you haven't left the apartment for four days. (He pauses again) I can hear your TV on, (laughs) are you watching C-SPAN?

Maria snorts, grabs the remote control from the couch, and lowers the volume on the TV. Wine glass in hand, she stands up and walks slowly toward the door. She unlocks the lock and opens the door, turning immediately to walk back to the couch. Nate looks at her in surprise from the hallway.

MARIA: Are you going to come in or what?

Nate takes a step into the apartment and closes the door slowly behind him, as he watches the entire scene. We notice that in the kitchen to his left there are some food packages and dirty dishes.

NATE: At least you've eaten something.

Maria shrugs and doesn't answer. Nate carries a white bag in his right hand. He places it on the breakfast table.

NATE: I brought you some food (he takes the items out of the bag out and looks at Maria's empty glass). And I also brought heavy artillery.

From the bag he produces a bottle of tequila and places it next to the food containers. Maria looks up at the bottle in surprise and stands up quickly.

MARIA: Now you have my attention.

Nate smiles at her but we can see that there is pain on his face to see her in this situation. Maria walks to the breakfast table ready to take the bottle of tequila. Nate covers his eyes and turns his body around, once he notices what Maria is wearing.

NATE: Oh, God, Maria! Can you put some clothes on?

Maria looks down at her body.

MARIA (exasperated): Ugh, fine.

Maria walks towards a moving box from which she pulls out some black shorts, without paying much attention to what she's picking up. She quickly puts on the shorts and walks back to the breakfast table.

MARIA: Better?

NATE: Thank you.

Maria opens the bottle of tequila and is about to drink straight from the peak when Nate interrupts her, taking the bottle from her hands.

NATE: Come on Maria, at least eat something first.

Nate places the bottle of tequila back on the breakfast table and pushes the food container toward Maria. She looks first at the food and then at Nate with disdain. She opens the tupperware and looks in disgust at what is inside.

MARIA: I'm not hungry.

Nate looks at her for a few seconds, thinking.

NATE: For every bite of food, I'll let you take a shot.

Maria raises an eyebrow, looking at him incredulously. She thinks about the proposition for a few seconds and finally grabs the food container and a plastic fork.

MARIA (resigned): Fine.

Maria walks away to the piano and sits on the white bench next to it. She opens the container and puts a bite of food in her mouth. Nate takes the bottle of tequila and two glass shots from a cupboard and walks over to the couch. He sits down on it, making himself comfortable.

NATE: So... have you called him?

Maria stops with a fork full of food halfway to her mouth. She takes her gaze to Nate and glares at him.

NATE: I'm not going to say his name, (laughs) Isabel has already warned me. (Serious) But I still think you need to call him.

Maria takes the fork to her mouth and takes a second bite of food. Quickly and annoyingly, she returns the fork to the container, closes it and places it on one end of the piano. She snorts.

MARIA: Can we talk about something else, please? (Pauses) I need to think about something else.

Nate serves two shots of tequila.

NATE: Sounds good to me. (He stands up from the couch and takes a shot toMaria) Let's talk about your work, then. (Maria rolls her eyes, exasperated) Isabel also told me that you are not traveling to Japan.

Maria drinks the tequila and turns on the stool, facing the piano. She shrugs.

MARIA: Why go?

NATE: Because it is an excellent opportunity. Because you would be recording an entire album with an excellent artist, who asked exclusively for you. (Drinks his shot) Because it would be a great opportunity to get away from everything. Forget about what happened.

Maria closes her eyes, we see great sorrow in her face.

MARIA (whispers): Maybe…

NATE: Have you written anything new? (Maria nods, her back to him) Do you want to show me?

Maria nods again. She takes a deep breath, raises her hands to the piano, and gently presses on the keys.

We start listening to: "Million Reasons", Lady Gaga. in a piano version sung by Maria.

Nate leans his back on the couch and looks at her, concentrating on the music and her voice.

We cut to:

Night - Hotel.

We are in a hotel room, not very big but well decorated. Michael is sitting on the bed with his elbows resting on his knees, staring down at the floor. He is dressed in elegant clothes.

He looks to his right where we see a cell phone on the bed. He moves his right leg nervously and finally takes the cell phone, quickly dialing a call. Without even giving a ringtone, we hear the voicemail answering the call, as if the phone was turned off. Michael closes his eyes and clears his throat nervously.

MICHAEL: Maria… it's Michael (laughs nervously) but surely you already know… because I have called you ten thousand times in the past two months. (He pauses) I understand your anger, I really do, but- (closes his left hand, furiously) not knowing anything about you is killing me. Come on, Maria! I just need to hear your voice, know that you are okay- (pauses) that we can be okay. If not today, at least tomorrow ... I know what I did was wrong, and I'm really sorry, but I'm willing to make amends, whatever and however long it takes. (Takes a deep breath) I think you should talk to your father, and maybe then you can forgive me? (He scratches his eyebrow) I managed to take some pictures of him with my cell phone the last time I saw him… maybe Isabel can help you find him. (Covers his face with his left hand) I don't really know what else to do… I'm really sorry, Maria. You-

Michael gets cut off as we hear a beep on the other side, as the recording has ended. Michael flips his cell phone angrily, which bounces against the wall of the room and falls to the floor.

The scene ends and we cut to:

Night - Michael's apartment.

Liz is sitting at the breakfast nook, a glass of wine in her hand and an open laptop in front of her. On the screen we see Tess, who is connected via Skype talking to Liz.

LIZ (worried): I don't know what to do, what to think!

The camera shifts to Tess, who is in Alex's room in Brown University, sitting at a desk staring at her laptop. On the bed, next to her, Alex is reading a book. He doesn't show on camera.

TESS: Nothing will happen to Zac.

We switch to Liz, who looks to her right into the room. At the door, we see Kyle who walks with Zac, hand in hand, entering the apartment and then closing the door.

Liz lowers her voice to a whisper.

LIZ: You should have seen him ... his face ...

TESS: Liz, are you doubting your son?

Liz sighs.

LIZ: I don't know what to believe anymore…

We switch to Tess.

TESS (seriously): Liz, listen to me, Zac is powerful but that doesn't mean he's evil. He is a two year old boy who is just learning to use his powers. It took me years to master them... and I had Nasedo with me for years.

Liz takes a sip of her wine and sighs.

LIZ: Maybe you're right.

Tess laughs.

TESS: Of course I'm right!

We switch to Liz.

TESS: Maybe I should go back to Roswell… help him understand everything that is going through his body and mind.

LIZ (denying): You can't put your life on hold just for my son.

TESS: He is also my godson.

LIZ (smiling): But you need to finish your studies, live your life... You deserve it after everything that happened.

Tess smiles weakly. Liz sighs.

LIZ: Zac says that he's seen his father ... that he listens to him.

TESS (surprised): He saw Max? When?

We switch to Tess, where we see Alex drop his book out of surprise, which falls on his chest, and turn his head towards Tess.

LIZ: Do you think it could be true? That he's alive and Zac can hear him?

TESS (surprised): Well.. I believe in a lot of things, and one of them is that Zac is a sweet boy, who loves his mother and probably wants to meet his father in person.

We switch to Liz.

LIZ: So you think it's possible.

TESS (nods): Yes. Do you?

Liz thinks for a few seconds. She takes a sip of wine and nods.

LIZ: Yes, I want to believe that he's still alive.

The scene ends and we cut to:

Day - New York.

We see the door of a restaurant in SoHo. It is full; it looks like a hip place as people are lining up at the entrance and waiting outside on the sidewalk for lunch. The restaurant is in a corner with tables and chairs on the sidewalk, under the shelter of some awnings and vines.

At one of the tables, sitting alone, we see Maria's father. He is dressed in a dark blue suit and appears to have recently arrived at the restaurant. He places his cell phone on the table and takes the napkin, which he places over his lap.

Among the crowd on the sidewalk we see Maria approach the table. Her face is neutral, but it seems almost angry. When she reaches the table, she throws her red bag over the table, startling her father.

The man looks up at her and takes off his sunglasses. He looks at her in surprise and smiles.

DANIEL: Maria… you look-

Maria raises her right hand, as a sign of arrest, interrupting him.

We start listening to: "Piece by piece (Radio Edit)", Kelly Clarkson.

MARIA: No, you don't get to speak. You had twenty years to talk to me, so now it's my turn. Now you will finally listen to me.

Daniel starts to get up but Maria lowers her hand, indicating that he sit down again.

MARIA: I don't want excuses or explanations. All I know about you is that you ruined my life. You left my mother and me penniless. You disappeared for years (Maria begins to cry). You didn't look for me or call me even once… (between teeths, furious) for 20 years I thought you didn't even love me. And now I find out that you were stalking me all this time? That you were a mere feet away from me and it never occurred to you to see me in person before?

DANIEL: Maria, I can explain.

MARIA (interrupting): I told you I don't want your excuses. You ruined my life then, and you continue to ruin it now. Who do you think you are to threaten my husband? My friends? You really think you need to protect me? (She rests her hands on the table and leans towards him) They were the ones who protected me all these years from people like you… from (pauses, searching for the word) ruthless like you. Stay away from my friends… from my family. (Takes her purse and places it on her left shoulder) Stay away from me. I never want to see you again. I don't even want to hear about you ever again.

Daniel adjusts his napkin nervously. He takes a deep breath and stares at her.

DANIEL (in a low voice): I'm just taking care of those monsters. (Maria looks at him defiantly, without answering) You need to get away from them. I have been able to protect you from the FBI to a certain extent ... I don't know how long I can keep you off their radar.

MARIA: I don't need your help. We've gotten rid of the FBI once before… (she walks over to her father and smiles maliciously at him) and I can only protect you from my family to a point.

Daniel stays silent, totally stunned. Maria adjusts her purse and hair, and looks at him for one last time.

MARIA: Bye, dad.

She turns around quickly and walks down the sidewalk, leaving his father sitting alone at the table.

We finish the scene and cut to:

Blank screen.

We read "Years Later" in black letters.

We open up at night in an art gallery.

We are at a painting exhibition in an art gallery. It seems to be the opening since people are well dressed and there is a catering service that delivers food and drinks to everyone. We see Michael dressed in gray dress pants and a gray shirt. He is standing in a circle of about 5 people, with his hands in his pockets and talking to them. People, all with canapés or drinks in their hands, listen to him attentively. We hear the voices of various people speaking and music in the background but we cannot make out any conversation. Michael laughs at what a woman next to him says. He suddenly fixes his gaze beyond the group of people, at the Gallery door, which has just opened.

We see Maria enter the Gallery. She is wearing jeans with high black boots, a white t-shirt and a red leather jacket on top. She takes two steps into the gallery and looks around, searching for something.

MICHAEL (looking at Maria, surprised, he talks to the group of people around him): Excuse me.

He walks away from the group of people and towards Maria, as if hypnotized. As he passes a waitress, he takes two glasses of white wine from the tray she is carrying.

Maria stays where she is. She notices Michael approaching and smiles at him, slightly, while putting her hands in the front pockets of her jeans, nervous.

Michael stands in front of Maria and the two look at each other for a few seconds. Michael then notices the glasses in his hands and hands one to Maria, who takes it.

MARIA (almost whispering): Thank you.

MICHAEL: You came. (Smiles widely, he can hardly believe she's there) I can't believe you're here, I thought you weren't coming back until next week.

Maria looks around at the people and the paintings hanging on the walls. She takes a sip of the wine.

MARIA: It's your first show in New York, Spaceboy, I couldn't miss it.

Michael looks at her from head to toe.

MICHAEL: You look amazing, (Maria smiles nervously. The camera focuses on Maria's neck, where she wears a gold chain, with a ring on it. Michael points to it with his hand) You're wearing your -

MARIA (interrupting him): Yes. (She looks down at the chain, while with her right hand she takes the ring and plays with it. She then looks up at Michael again). The show looks amazing, Michael, I'm so proud of you.

They are both silent for a few seconds.

MICHAEL: I'll let you walk through the gallery, you can tell me what you think of the paintings later.

Maria nods.

MARIA: Sure. (Takes a sip of wine, Michael starts to walk away) Maybe we can do it over dinner?

Michael looks at her, surprised. Maria smiles at him.

MARIA: I did say "someday", Michael.

He smiles back and nods.

MICHAEL: I'll find you later. Do you mind if we stop by my hotel so I can change? (Looks at his clothes) You know this is not really my kind of scene.

Maria laughs.

MARIA: Sure.

The scene ends and we cut to:

Night - Hotel room.

A door opens; we see Michael enter the room, followed by Maria. They are both wearing the same clothes as the previous scene. The hotel room is large, with a room with a table and several chairs, and the bedroom separated from it by two wooden doors. Maria enters the room a little fearful; she walks over to the table and puts his handbag on it. Then she takes off her boots and places them by the chair. She walks around the table, staying on the other side of it, looking at Michael.

MICHAEL (nervous): So… I'll change, and we can go eat?

Maria nods and Michael walks away into the room.

She takes a deep breath and looks around the room. Near the table is a small library next to the windows, where we see an iPod and a speaker. Maria walks towards it with curiosity. We hear in the distance the sound of running water; Michael hasn't locked the bedroom doors.

Maria turns on the iPod and looks at the screen. We see that it turns on with a list with the name "Maria" and a photo of her on it; the picture is a close up of her face, taken in privacy, smiling. She begins to look at the list of songs and becomes surprised.

MARIA: Michael, what is this?

MICHAEL (from afar): What? (Michael appears in the living room, he is still wearing his pants but now his torso and feet are bare. His body has changed over time and he looks more toned and muscular. In his hand he has a small towel, which he rubs on his face). What happened?

Maria takes the iPod in her right hand and slides her finger across the screen.

MARIA (whispering): You have all these songs…

Michael realizes what Maria has just found and walks over to the table, placing the towel on it. Maria has her back on him.

MARIA: Why do you have all these songs? (She finally turns around, but still doesn't look at Michael) These… (she looks up and they both look at each other) these are my songs.

Michael takes a deep breath.

MICHAEL: I follow everything you do, Maria, I always have. All this time apart ... even though I couldn't see you or hear your voice, I could at least hear your words. Your music. Your melody. (He takes a breath, gasping for courage and smiles) I have to admit that I was hoping some of those songs were about me.

Maria contemplates him. She rests her gaze on Michael's bare chest and takes a deep breath, she seems to be distracted for a few seconds but finally she shakes her head and places the iPod back on the furniture. She places her finger on the screen and hits "Play" on a song.

We start to hear: "Still falling for you", Ellie Goulding.

MARIA: Most of them are. (She takes a step closer to Michael, and takes a deep breath) I've written about us thousands of times, Michael.

Michael reaches out his hand to Maria and runs it through her hair, tucking it behind her ear. Maria closes her eyes and drops her head into Michael's hand. She smiles weakly at the touch of him.

Michael reaches for Maria's jacket and removes it, dropping it to the floor. He slowly caresses Maria's arms from her wrists to her shoulders, and finally rests his hands on her neck. Maria opens her eyes and looks at Michael expectantly.

MICHAEL (whispering): Did you write this song about us?

Maria nods. Her eyes begin to fill with tears.

MARIA (following the song): You are everything to me.

Michael smiles and lowers his hands back to Maria's shoulders, and then drops them back to her waist. He grabs the edge of her shirt and is about to lift it up when Maria takes him by the wrists and stops him.

MARIA: Wait, there's something I have to say-

MICHAEL (interrupting her): I know. (He looks at her seriously but full of adoration) Liz told me, but that doesn't change anything… because you're everything I want.

MARIA (fearful): Are you sure?

Michael leans his body to her, resting his forehead against hers.

MICHAEL: Are you?

Maria smiles and nods weakly, releasing Michael's wrists. He returns his hands to the edge of Maria's shirt and begins to lift it over Maria's body and arms, taking it off. Maria wears a burgundy lace bodice underneath. Michael strokes her skin.

MICHAEL: You are so beautiful.

Maria licks her lips and closes her eyes. She takes a deep breath.

MARIA: Michael? (She opens her eyes and looks at him) Can you kiss me, please?

Michael smiles and slides his right hand down Maria's chest, down the chain until he reaches the ring. He takes it between his fingers.

MICHAEL: Only if you let me give you another ring.

Maria laughs.

MICHAEL: And you never take it off again.

MARIA: It's a deal.

Michael locks the chain in his hand and, while lowering his face, pulls Maria toward his body. He places his lips on hers and begins to kiss her.

The scene ends and we cut to:

Spaceship - Uncertain time.

We are in the same room that we saw last time. The man is leaning over the board, his hands on it, staring into space with sadness on his face. The door opens and two soldiers enter holding Max by the shoulders, who enters the room fighting to get away.

MAX: Let go of me! (Fighting) Don't make me use my powers.

The soldiers look at the man, who turns his face towards them and nods. The soldiers release Max, who adjusts his clothes.

MAX (to the soldiers, sarcastically): Thank you. (To the man, furiously) You have to let me go.

The man turns his body completely towards Max.

MAN (resigned): We will let you go.

MAX (incredulous): You will?

SOLDIER 1: What ?!

SOLDIER 2: We can't allow that!

The man raises his left hand, in silence, towards the soldiers. He looks up at Max and stares at him for a few seconds.

MAN: We can't keep denying the truth... this man (points to Max) is not Zan.

MAX (denying): No, I'm not. I'm Max, always have been.

The man closes his eyes sadly.

We start listening to: "Emerge Part II", Ruelle.

MAN: We let our best soldier die for you. (Opens his eyes and glares at Max) An impostor who never cared about his own people. A self-interested King who prefers to see Antar destroyed.

MAX: I don't want that ... but I can't fulfill this role that you're asking of me either.

MAN: Our King.

MAX: I was never you King... and I don't want to be it either.

The man points to the board.

MAN: We will let you go.

Max hesitates for a few seconds. He looks at the soldiers and then at the man, and slowly walks towards one of the rooms.

MAN: I hope the loss of our race weighs on your shoulders your entire human life, (disgustedly) Max.

Max looks like he's going to say something, but he prefers to remain silent. He finishes walking towards the cabin and enters it, holding on tight to the glass walls. He looks at the man sadly.

MAX: What are you going to do now?

The man takes several deep breaths.

MAN: Fight, I guess. (Shrugs) Hope we survive.

The man presses a button on the dashboard and the cabin closes around Max. Inside it the sounds come a little muffled. The man presses other buttons on the dashboard and some lights start to turn on inside the cabin, Max looks around a little scared.

Max and the man make eye contact for a few seconds, he glares at him.

MAN: Better take good care of your son.

Max taps his hands on the glass of the compartment.

MAX (yelling): NO!

The cabin fills with light, Max can no longer see anything. There is a loud sound and then all the lights go out. Slowly they reignite, Max has disappeared from the cabin and only the man and the soldiers remain in the room.

We cut to:

Night - New York.

We are in Isabel and Benjamin's apartment, in the kitchen. The room is illuminated by warm lights. We see Isabel and Benjamin standing by the sink, he is washing the dishes while she dries them and places them in a cupboard.

Suddenly, Isabel stops midway. Her arm begins to shake and the plate falls to the floor, breaking into several pieces. Benjamin looks at her in surprise.

We begin listening to: "Emerge Part II", Ruelle., continuation of the previous scene.

BENJAMIN: Are you okay? What happened?

Isabel stares at the floor, where the plate has fallen. She looks up at Benjamin, her face is blank, not registering what just happened with the plate.


Benjamin nods at the plate on the floor.

BENJAMIN (confused): You dropped the plate. (He turns off the tap and takes the cloth from Isabel's hands) Are you feeling okay? (He brings her hands to Isabel's belly) Is it the baby okay?

Isabel looks down at the plate and then looks up at Benjamin again, not understanding what is happening. She turns her face to her right, toward one of the kitchen walls.

ISABEL: I don't know… (Closes her eyes) I feel, (looks for the word) different. I feel like a (she puts her hands to her chest) force in my body… (tries to the find the words) like a connection to something ... someone-

BENJAMIN (interrupts her, worried): A connection to our baby?

Isabel looks at Benjamin for a few seconds and finally smiles.

ISABEL: I haven't felt this in five years.

BENJAMIN: What do you mean?

ISABEL: I think- (smiles broadly) I think Max is back.

The scene ends and we cut to:

Night - Brooklyn. Liz's department.

We see Liz in the kitchen with a bottle of wine in hand. She removes the cork from the bottle and serves wine in the glass. She walks into the living room with glass in hand and sits on the sofa. She turns off the television and picks up the first book from a large pile in front of her, on the nightstand. She takes a sip of the wine and puts the glass on the table.

Liz opens the book and picks up some black-framed reading glasses, which are found next to the pile of books. As she moves her hand to pick up the wine glass, the pile of books falls to the ground.

We start listening to:

Music: Ed Sheeran, "All of the stars."

LIZ (sarcastically): Great.

Liz kneels down on the floor, next to the pile of books. She is about to pick them up when she notices an open book. She looks at it, surprised. She picks it up and we see that the book has been opened to the same Walt Whitman poem that we read in a previous episode; "The woods are lovely, dark and deep. But I have promises to keep, and miles to go before I sleep. Miles to go before I sleep". We hear a voice whispering "Liz." Liz drops the book in fear and looks over her shoulder. We hear a sharp knock on the door and again someone whispering "Liz." Liz gets up off the floor quickly and runs to the door. She is about to open it but her hand stops on the doorknob. She closes her eyes and takes a deep breath.

We hear Max's voice, a memory of Liz:

MAX: I'll come back to you. No matter what happens, no matter where you are, I will always find my way to get back to you.

Liz opens her eyes, puts her hand on the handle, and opens the door quickly. The camera focuses on the door frame from the outside. We see Liz's face and half her body. First she looks fearful, holding her breath. Finally, she lets out a sigh and smiles broadly.

LIZ: You came back.

The camera zooms in on Liz, who doesn't stop smiling. We switch to what she's looking at.

We see Max, visibly younger than Liz, standing in the hall. He's wearing the same clothes as the last time we saw him.

MAX (smiles): I came back.

Liz looks him over from head to toe. She starts laughing.

LIZ: You look… (searches for the words) so young.

Max laughs.

MAX: You look amazing.

Liz blushes.

LIZ: How? (Pauses) When?

MAX (walks over to Liz and rests his hands on her waist): Does it matter? I'm here now.

Liz looks at him dazed for a few seconds. Finally, she smiles while shaking her head in disbelief.

LIZ (through tears): You came back to me.

Max hugs Liz by the waist and draws her close to his body. Liz closes her eyes and lets out her tears.

LIZ: Are you real?

He lowers his face to her face and begins to kiss her fervently. Liz does a little jump, hugging Max with her legs and arms. He kisses her back while laughing in joy. Max leads Liz into the apartment, as the door closes on its own behind them.

We cut to:

Black screen. We hear Liz's voiceover:

LIZ: It's September 23rd. Journal entry one. I'm Liz Parker and five days ago I died. After that, things got really weird ...

Roswell - Day.

The camera zooms down the street from the Chashdown Café towards it. The place is closed and the tables and chairs on the sidewalk are no longer there. On the door we see a "For Sale" sign with a red sticker where we read "Sold" stuck across it.

The camera enters the cafe, where we see Liz and Maria storing utensils in some wooden boxes. In one of the booths is Zac, already grown up, sitting in it playing with an electronic tablet. The cafe is completely empty and lacks a lot of its decorative elements; instead we see the stains they have left thanks to the sunlight and soot.

Maria takes an empty sugar jar and wraps it in newspaper, looking around wistfully.

MARIA: I can't believe your parents sold the Crashdown.

Liz smiles as she wraps plates in paper.

LIZ (Looks up at her friend): Don't tell me you'll miss working here.

Maria shrugs one shoulder.

MARIA: It's good to know that if the music thing doesn't work for me, I have a plan B.

They both laugh. Liz sighs.

LIZ: It's strange for me too... this Café has been my whole life! But we don't even live in Roswell anymore. (She looks at Zac lovingly) It will be good for my parents to be closer to their grandson.

MARIA (pointing to Liz's belly with her finger): Their grandchildren, you mean.

Liz looks at her friend, scoldingly.

LIZ (whispering): Shush, we haven't told Zac yet. (Maria laughs and places the sugar bowl in one of the boxes. Liz takes her gaze back to Zac) Honey, can you get me those forks over there?

Zac looks up from his tablet game to the box in front of him, where there is a pile of silverware scattered on the table. Zac puts the tablet on the table and concentrates on the box; the forks slowly begin to separate from the rest of the silverware and rise into the air. Zac flies them with his powers carefully towards his mother.

MARIA: You are exploiting your son, amiga. (Pauses) Have you already told Max's parents about… (points to her belly again) you know?

Liz fervently shakes her head.

LIZ: They're still getting used to being around Zac. Besides, after all that it took on them to have Max back in their lives... we don't want to overwhelm them. It has been difficult enough… but I think they are finally believing the story of the (Liz raises her hands and makes a quotation mark with her fingers) "kidnapping".

MARIA: You know you won't be able to hide it for so long, right? You're already starting to look chubby.

Liz sticks her tongue out at Maria and she laughs.

We start listening to: "Castle on the hill", Ed Sheeran.

The door to the rest area opens and Michael walks into the cafe, with a baby of about five months old in his arms. The baby is black and has short curly hair. Both Maria and Liz look up at Michael.

MICHAEL: Sorry, (walks to both girls) I know I had to leave her with your mom (stands next to Maria and leans down to kiss her cheek) but I couldn't. She looked so cute today.

We notice that the baby is wearing a koala jumpsuit. Maria raises her hand to caress the baby and notices that she has white spots all over her face. She looks quickly up at Michael.

MARIA: Michael, did you feed her whipped cream again?

Michael kisses the baby's forehead while wiping her face with his hand.

MICHAEL: She asked me to.

MARIA (wants to sound angry but smiles): She can't even speak yet!

Liz laughs and points to Zac.

LIZ: You can leave her with Zac. (Grabs a couple of forks) But you must stay to help us pack. We need to finish by tomorrow afternoon.

Michael walks over to Zac and sits down next to him, placing the baby on the table. The camera slowly moves away from the scene outside the Café, where we once again see the empty sidewalk and the "Sold" sign. Parked next to the curb we see a red truck, with the same boxes that we have seen inside the Crashdown Café, stacked on top of the trunk. The camera focuses on the vehicle registration plate where we see the combination of yellow letters and numbers on a water green New Mexico license plate.

On the truck's bumper we see a yellow sticker with red lettering and a black drawing of a spaceship, where we read "Thanks for visiting Roswell."

We hear Liz's voiceover:

LIZ: It's September 27th, I'm Liz Parker and I'll never look at the stars in the same way again.

The camera slowly zooms away from the scene, showing the truck, the street, and the Cafe.

The camera slowly focuses on the sky where the sun shines and we read the word "The End" on the screen in white letters.