REFUGEE FROM ROSWELL
By Charles Deemer
FADE IN:
EXT. OUTDOOR CAFE - DAY
People fill tables at an outdoor cafe in the city on a
beautiful spring afternoon.
At a table sit JOE and TRICIA, a handsome couple in their
20s. Tricia wears a designer jogging outfit; Joe is dressed
casually in slacks and sportcoat.
Tricia is visibly agitated, while Joe sits calmly, sipping an
espresso.
TRICIA
I can't believe you're doing this -
especially now. We were going to
Washington next week.
JOE
We can still do that.
TRICIA
What's the point? A final fling
before you leave?
JOE
I told you six months ago I'd
probably be moving.
TRICIA
I thought you'd change your mind
since everything's been so good. Or
so I thought.
Several tables away, watching the couple closely, sit HELEN,
60s, and AMY, 40s.
HELEN
I bet he's telling her that he told
her six months ago he'd be leaving.
That's what he told me.
AMY
And to pay closer attention.
At the other table:
JOE
You have to pay closer attention to
what I'm really saying, not what you
want to hear. I've never lied to
you, Tricia.
TRICIA
I just can't believe you can do this
so goddamn easily!
She gets up from the table, throwing down her napkin.
Watching the scene:
HELEN
"I've never lied to you." I bet
that's the line that gets her.
AMY
That line was the last straw for me,
too.
At the table, Joe gets to his feet while Tricia is moving
off. He MOUTHS the very words that Helen is expecting and
repeating to Amy.
HELEN (O.S.)
"I never lied to you!"
Then he calls after her:
JOE
Tricia!
He sits back down, looking more resigned to the inevitable
than upset.
At the other table, Amy leans forward to confide something,
as Tricia stomps by the women's table in a huff.
AMY
It was summer, in 1976, the
Bicentennial. I can remember it like
it was yesterday. I loved that man
so much. I was only 19.
HELEN
Spring of '55 for me, dear. But we
don't want to lose her, do we?
Helen gets up, Amy quickly behind her, and they take off
after Tricia.
Also overlooking this scene from another table has been
GEORGE, 30s, who now moves to sit down across the table from
Joe.
GEORGE
I bring you greetings from home.
He makes an unusual gesture with his hands, like sign
language, and a LIGHT GLOWS in the palm of his hand.
Joe's eyes widen.
JOE
You're . . . ?
George nods, yes.
GEORGE
Don't react. Do you have a domicile
where we can talk?
JOE
Of course. They call it an apartment
here.
George takes a small foreign language dictionary out of his
coat pocket.
GEORGE
Apartment? I don't recall learning
the word.
JOE
It's only a few blocks from here.
EXT. CITY - STREET - DAY
Helen and Amy catch up with Tricia on the city street.
HELEN
Excuse me.
TRICIA
Yes?
HELEN
We'd like to talk to you.
AMY
We couldn't help but see the fight
you had with your boyfriend.
TRICIA
What are you, spying on me?
AMY
For weeks now.
TRICIA
You're not serious.
AMY
"I've always told you my plans."
HELEN
"You have to listen to what I'm
saying, not what you want to hear."
AMY
"I've never lied to you."
These last three lines have a visible affect on Tricia, who
looks like she needs to sit down.
TRICIA
Who the hell are you?
HELEN
Your predecessors.
TRICIA
What's that supposed to mean?
AMY
He dumped us, too, dear. Me in the
70s, Helen in the 50s.
HELEN
You look like you need to sit down.
INT. JOE'S APT - DAY
George is looking around Joe's apartment with great
curiosity. The small one-bedroom is tastefully decorated
without being ostentatious, in a somewhat bohemian style.
George finds a basket of laundry with a bra on top. He picks
it up, as if he were lifting the specimen of a snake.
GEORGE
You live alone?
Joe ignores the question.
JOE
Maybe we should do this somewhere
else.
GEORGE
Do what?
The question takes Joe by surprise.
JOE
Wait a minute. I thought you were--
GEORGE
I am.
JOE
Then you're here for my report,
aren't you?
George looks at him like a General looking at an enlisted man.
GEORGE
I could have let you send your
report, as always.
JOE
Then why are you here?
GEORGE
To see for myself.
JOE
See what?
George flips Joe a superior smile.
GEORGE
So many obvious questions. Is this
the style of the natives you've
adapted? Now you have me doing it.
What do I call you anyway?
JOE
Joe.
GEORGE
This body was named George.
JOE
If you're not here to get my report,
then what are you here for?
GEORGE
Joe, I'm here to see for myself.
You've had some extraordinary things
to say about the natives here. I
want to make sure your reports are
accurate.
INT. COCKTAIL LOUNGE - DAY
Tricia sips her drink, takes a deep breath and prepares to
speak.
TRICIA
Let me see if I have this straight.
You lived with Joe for several years
in the 1950s--
HELEN
Correct.
TRICIA
--and you did the same thing in the
70s.
AMY
I was very much in love with him.
Just like you.
HELEN
And like I was.
TRICIA
You sit there with a straight face
and tell me this. I don't get it.
HELEN
Don't get what, dear?
TRICIA
Joe wasn't even born in the 1950s -
and was just a child in the 70s. Now
what's this really about?
Amy turns to Helen, deferring to the older woman to continue.
HELEN
You don't understand. The man
doesn't age. We believe he's, well,
not from here.
TRICIA
I already know that. He was a Navy
brat. Born in Norfolk and attended
a dozen schools before he reached
high school.
HELEN
We believe he's from another planet.
Tricia isn't sure what to make of this. Finally she has to
laugh.
AMY
He has an incision scar inside his
right thigh.
HELEN
Another on his left buttock.
Tricia's expression tells us they are right.
TRICIA
Do you have some specific planet in
mind?
HELEN
We think he survived the flying
saucer crash at Roswell.
AMY
The summer of 1947, dear. Long
before you were born.
HELEN
He's a refugee from Roswell.
Tricia is speechless.
EXT. JOE'S APT - DAY
George follows Joe out of the apartment. A DOORMAN, 60s,
greets him.
DOORMAN
Good morning.
Joe ignores him. He is in a huff, moving quickly down the
sidewalk, with George right on his heels.
JOE
I deserve medals, not censor.
GEORGE
Why are you angry? You're acting
like a native.
JOE
Who has done better research than me?
GEORGE
I believe the correct grammar is I.
JOE
Nobody here says I. It's a giveaway.
GEORGE
They don't follow their own rules of
grammar?
JOE
I've been sending you invaluable data
about these people for fifty years.
GEORGE
I'm not criticizing you. I just want
to see for myself before the
committee arrives.
Joe finally stops walking. He turns and confronts George.
JOE
What committee?
George ignores the question.
GEORGE
How about the grand tour? We could
start with this children's game
played by millionaires. Basket . . .?
JOE
Basketball. What committee?
GEORGE
Basketball, yes. A children's game,
you wrote, in which they throw a ball
through a hoop - and according to
your reports, for this they get
rewarded far beyond the reward given
to teachers or nurses or parents. We
sure got a laugh out of that! And
you wonder why I'm here?
JOE
Yes, that's the way it is. I can
prove it to you.
GEORGE
I hope so! I'm on your side here.
I want the committee to see that
everything you've reported is true.
My plan depends on it.
JOE
What plan? What committee?
INT. COCKTAIL LOUNGE - DAY
Helen and Amy both hand photographs to Tricia.
HELEN
We realize how hard this must be for
you to understand.
AMY
I was just as disbelieving at first.
Tricia looks at the FIRST PHOTOGRAPH:
it shows Joe, physically looking exactly as he looks today,
posed informally with Helen as a young woman, whose peddle
pushers and hair style date the era as the fifties.
In the SECOND PHOTOGRAPH, Amy is sitting on the lap of Joe,
again who looks the same, at a party. A backdrop banner
reads "Happy Bicentennial 1976!!"
Tricia tosses down the photographs.
TRICIA
You made these with a computer.
EXT. COCKTAIL LOUNGE - DAY
Tricia comes out of the bar, moving quickly down the street.
Helen and Amy come out behind her. They watch her go.
AMY
She doesn't believe us.
HELEN
Would you have?
AMY
No. What now?
HELEN
We count on her curiosity.
INT. PUBLIC LIBRARY - RESEARCH AREA - DAY
Tricia sits at a microfilm machine in the public library.
She brings up a headline about the flying saucer crash in
Roswell, New Mexico. It's the July 8, 1947, edition of the
newspaper.
The headline reads: "Roswell Army Airfield Captures Flying
Saucer On Ranch".
INT. PUBLIC LIBRARY - CHECK OUT DESK - DAY
Tricia is checking out a book about the Roswell incident.
CHECK OUT CLERK
I read this. You'll love it. Did
you see the alien autopsy on
television?
TRICIA
The alien autopsy?
CHECK OUT CLERK
The government filmed it. They've
been covering it up for years.
INT. GYM - POOL - DAY
Tricia stands on a diving board, ready to dive into a pool.
Poolside is her coach, BI JINGJING, a middle-aged Chinese
woman.
BI JINGJING
Reverse somersault tuck.
Tricia takes a deep breath and dives: she over-extends her
rotation, a very poor dive.
She swims to the edge of the pool and climbs out.
BI JINGJING
Where is your mind today?
TRICIA
Joe's moving to Seattle. We're
splitting up.
BI JINGJING
I'm sorry.
TRICIA
Me, too.
BI JINGJING
Do you want to call it quits for the
day? I'm not focusing too well
myself. I think I'm nervous about
meeting the President.
TRICIA
No! I want to dive.
She goes to the board for another dive. She takes a deep
breath, trying to get her concentration back.
BI JINGJING
Again: reverse somersault tuck.
Tricia dives - better but by no means up to her usual
standard. Bi's face tells us this.
INT. SUSAN'S APT - NIGHT
Tricia's girlfriend, SUSAN, 20s, opens the door to find
Tricia standing there. The look on Tricia's face tells Susan
everything.
SUSAN
Oh my God. It finally happened.
Tricia breaks into tears.
INT. SUSAN'S APT - WET BAR - NIGHT
Tricia and Susan sit at a wet bar, drinking coffee.
SUSAN
I think I have an explanation.
Mental hospital refugees.
TRICIA
That's too easy.
SUSAN
Every time you pick up the paper,
some mental ward is closing. They
just dump these people on the streets.
TRICIA
They went to all the trouble to make
the photographs. And where did they
get a picture of Joe to work with?
How did they know about the scars?
SUSAN
You've convinced me. He's a Martian.
That's why he always looks so damn
good. He doesn't age, they're right
about that. He hasn't aged a day in
the three years I've known him.
TRICIA
They're crazy, or he's an alien.
Great choice we have here.
SUSAN
I guess you're just going to have to
ask him.
TRICIA
Maybe he put them up to it. Some
weird idea to make it easier on me.
He's moving to Seattle.
SUSAN
Oh, Trish . . .
TRICIA
Just what I need right now.
SUSAN
How could he, with the trials coming
up? Wasn't he going to Washington
with you?
TRICIA
We were going to see Bi get her
award, and then he'd stay for the
trials. But the thing is, I had my
own surprise - I was going to tell
him this was my last meet, I was
retiring from competition so I could
. . .
She is fighting to hold back the tears.
TRICIA
I'm pregnant.
Susan moves to put her arms around Tricia, and Tricia finally
lets the tears come.
EXT. JOE'S APT - DAY
Tricia's car pulls into the lot and parks. She gets out and
heads for the apartment building.
DOORMAN
And how are you this lovely day?
TRICIA
I've been better, Mr. Wells.
DOORMAN
At least you have your youth!
Tricia hurries inside, ignoring the remark.
INT. JOE'S APT - DAY
The door opens and Tricia steps inside.
TRICIA
Joe? It's me!
She finds a blanket on the divan, evidence that someone slept
there last night. She looks surprised.
She goes to the bedroom and peeks inside. The room is empty,
the bed unmade.
She goes to the closet and starts taking out her clothes.
INT. OUTDOOR CAFE - DAY
Joe and George are at the outdoor cafe, having coffee.
George makes a face after a sip.
GEORGE
How long did it take you to get used
to this?
JOE
I liked it immediately.
George makes a face.
GEORGE
You do have an affinity. So what's in
store for today?
JOE
Nothing until you tell me what's
going on.
GEORGE
I want to see these millionaires who
play children's games.
JOE
I want to know about the committee.
GEORGE
The committee has to make the final
approval of the plan. If what you've
sent us is true, there's no question
that they will.
JOE
Approval for what?
GEORGE
Making this a destination planet. If
the natives are as primitive as you
report, it's perfect.
JOE
I'm not sure I understand.
George is thumbing through his dictionary.
GEORGE
I saw the word for it this morning.
Turning this planet into . . . here
it is: a zoo, a planetary zoo.
Where civilized people can come to
visit and marvel at the exotic habits
of the primitive natives.
JOE
You want to turn Earth into a zoo?
GEORGE
They have zoos for monkeys - and
we'll have zoos for them! Every
species in its rightful place.
George grins.
INT. JOE'S APT - DAY
Tricia brings two suitcases into the living room from the
bedroom, setting them onto the floor.
She goes to a small desk and prepares to write Joe a note.
As she's thinking how to begin, the door opens, and Joe and
George step in.
Tricia gets quickly to her feet.
TRICIA
I was just writing you a note. I'll
be staying with Susan for a while.
I don't want to get in the way while
you're packing.
When Joe doesn't reply, she thrusts her hand forward at
George.
TRICIA
I don't think we've met. I'm Tricia.
JOE
I'm sorry, this is-- . . .
GEORGE
George.
JOE
George! Meet Tricia; Tricia, George.
There's an awkward silence.
TRICIA
Can we speak in the hallway a minute?
She picks up the suitcases.
JOE
Let me help you with that.
TRICIA
I can manage.
She takes the bags into the hallway. Joe gives a shrug to
George and follows her.
INT. JOE'S APT - HALLWAY - DAY
Tricia sets down the heavy suitcases again.
TRICIA
I want to ask you something.
JOE
Anything.
TRICIA
Joe, are you-- . . .
JOE
Am I what?
Tricia frowns, the question suddenly too absurd for her to
ask.
TRICIA
Are you comfortable with me going to
Susan's?
JOE
Seems like the logical place to go.
She's your best friend.
TRICIA
The logical place to go. Great.
She picks up the suitcases and storms off. Joe calls after
her:
JOE
Tricia!
George steps into the hallway.
GEORGE
To an outsider, the natives have a
very primitive emotional life.
JOE
Tell me about it.
INT. SUSAN'S APT - NIGHT
Tricia is stretched out on the divan, reading the Roswell
book, when Susan enters.
SUSAN
Sorry I'm late. Did you manage
dinner for yourself?
TRICIA
No problem.
Susan stands over Tricia, waiting for her to go on.
SUSAN
Well? Did Joe call?
Tricia shakes her head and continues to read.
SUSAN
Are you going to tell him?
Tricia ignores the question.
SUSAN
How's the book?
TRICIA
Fascinating.
SUSAN
So is he an alien?
Tricia gives her a dirty look.
SUSAN
If he is, Trish, what about the baby?
TRICIA
What about it?
SUSAN
It might not be . . . ?
TRICIA
Human.
SUSAN
Well, yes. Have you thought about
that?
Tricia slams her book down and gets up.
TRICIA
Of course I've thought about it!
I've thought about nothing else.
Tricia is shaking, and Susan steps forward to embrace her.
Tricia melts in her arms, crying.
INT. HEALTH CLUB - TRICIA'S OFFICE - DAY
Tricia, dressed casually, comes into her office at a health
club, moving past the SECRETARY, a woman in her 40s.
SECRETARY
Your mother's waiting for you.
This stops Tricia.
TRICIA
My mother's dead.
SECRETARY
Oh dear . . .
The secretary stands up from her desk.
TRICIA
I'll take care of it.
Tricia walks into her office to find Helen seated across the
desk.
TRICIA
If you don't leave voluntarily, I'm
calling security.
She's stopped by an old newspaper on her desk. The headline
reads: "Flying Saucer Crashes On Roswell Ranch".
HELEN
Turn to page five.
Tricia starts to say something but doesn't. She turns to
page five - and immediately she gasps.
She's looking down at a PHOTO OF JOE in the 1947 Roswell
newspaper, looking exactly as he looks today. A headline
describes the young man's death in an automobile accident.
HELEN
The young man died in a car crash in
Roswell the same day as the flying
saucer crash.
TRICIA
And you're claiming that . . . ?
HELEN
Joe survived the crash and took over
the young man's body, and he hasn't
aged a day since then.
Tricia thinks a moment, then buzzes her secretary on the
intercom.
TRICIA
Cancel my appointments. I'll be tied
up the rest of the day.
INT. HOTEL - ROOM - DAY
Tricia sits at a table in a hotel suite, going through a
scrapbook showing scenes of Joe with Helen or Amy through the
years.
There's a knock on the door. Amy goes to answer it.
HELEN
There's someone we want you to meet.
Amy brings BRAD MCCALL, 30s, into the room. Mccall is an
investigative reporter.
BRAD
You must be the latest. Brad Mccall.
He offers his hand. Tricia just stares at him.
HELEN
She still has doubts.
BRAD
Who can blame her? Miss . . .?
TRICIA
Who are you?
BRAD
I write for Time Magazine, and I was
a skeptic for months. But not any
more.
TRICIA
What do you people want from me?
AMY
Your help in stopping him from going
on with this.
TRICIA
Going on with what?
HELEN
Whatever it is he's up to, dear.
BRAD
I'd like your cooperation. This is
the story of the century. Of any
century.
TRICIA
I think I should talk to Joe first.
HELEN
He moved this morning.
TRICIA
He wouldn't leave without saying
goodbye.
HELEN
He has to move every four or five
years or people will notice he never
ages.
TRICIA
He can't have moved already.
INT. JOE'S APT - DAY
Tricia is walking through Joe's apartment as Helen, Amy and
Brad watch. Only Tricia's things that she left behind
remain, Joe having packed and gone.
Finally Tricia accepts that Joe has, in fact, moved out.
TRICIA
What can I do to help?
INT. GYM - POOL - DAY
Tricia springs off the board, doing a front dive with a half
twist pike. Not bad.
She gets out of the pool, where her coach is waiting for her.
BI JINGJING
Much better today.
TRICIA
I have to go to Seattle for a few
days.
BI JINGJING
Really? Do you think you can afford
a break in training?
TRICIA
I don't have a choice.
BI JINGJING
The trials are only-- . . .
TRICIA
I know when they are! I'm sorry.
BI JINGJING
You're seeing Joe in Seattle?
TRICIA
Yes.
BI JINGJING
Bad timing.
TRICIA
I know. I'll try to dive every day
while I'm there.
BI JINGJING
You still plan to come early to
Washington?
TRICIA
I wouldn't miss it for the world.
I'll be there - with or without Joe.
INT. HILTON - SUITE - NIGHT
Joe and George are sharing a suite at the Hilton in Seattle.
Joe is combing his hair at the mirror. George sits at a
table, reading over something. He reads aloud:
GEORGE
Here it is: "Earthlings who play
sports professionally earn millions
of dollars, much more than teachers,
nurses, social workers, police,
fireman, parents, or many others who
contribute essential work to the
society. Here Leisure and Escape are
more important than Education and
Social Welfare." The committee got
a good laugh from that. Then I
thought, if this is actually true,
what a fantastic opportunity for a
vacation retreat! Primitive life
forms are so fascinating.
JOE
I don't like the idea of turning this
planet into a zoo. These people are
more complex than you think.
GEORGE
That's why you're the scientist, and
I'm the businessman, isn't it?
INT. BASKETBALL ARENA - NIGHT
A professional basketball game is in progress, the Seattle
Sonics at home.
INT. ARENA - STANDS - NIGHT
Joe and George sit in the stands, watching the game. Joe has
become something of a fan, but George is totally bewildered.
George looks around the stands in amazement, never having
seen anything like this before.
Joe notices his disbelief.
JOE
You'll get used to it.
GEORGE
Who ARE these people? This is
wonderful!
INT. RESTAURANT - NIGHT
Joe and George are having pie and coffee after the game.
George inspects every bite, as if he were eating sweetened
insects.
GEORGE
These basketball players and teachers
you interviewed - can I talk to them?
JOE
Of course. They'll tell you the same
thing they told me.
GEORGE
And they talk to you openly?
JOE
Once they trust me. I tell them I'm
writing a book.
INT. JOE'S APT - DAY
Susan is watching Tricia pack.
SUSAN
Even if it's true, following him to
Seattle is dangerous. He could zap
you into a pile of ashes.
TRICIA
This isn't Star Trek.
SUSAN
Then what is it?
TRICIA
I don't know. But something is - I
don't even know the word for it.
Very strange.
SUSAN
This stuff scares the bejesus out of
me, Trish. Why can't you just drop
it?
TRICIA
Because I love him. And I don't
believe he would hurt me. No matter
where he's from.
INT. SCHOOL - DAY
Joe and George wait outside a classroom. The bell rings, and
students pour out. Many are dressed in the wild attire of
the times, which George looks at with wide-eyed amazement.
TOM BRADLEY, 30s, a teacher, steps out into the hallway.
TOM
I only have twenty minutes.
INT. SCHOOL - FACULTY LUNCH ROOM - DAY
Joe and George sit with Tom at a corner table in the faculty
lunchroom.
TOM
George, as I told Joe earlier, the
way I figure it, in this society,
where we are free to choose, we get
exactly the kind of culture we
deserve. If the American people
think that watching a bunch of seven-
foot freaks, with mediocre educations
at best, is more important than
giving the men and women who educate
their children a living wage - well,
what can I say? You get the society
you deserve. So here we are. It's
the pits, isn't it?
George just looks at him.
TOM
That's just my opinion, of course.
EXT. OUTDOOR CAFE - DAY
Joe and George are having espresso. George still isn't sure
whether he likes it or not.
GEORGE
This is extraordinary. Evolution has
proven that the care and education of
the children are the foundation of
species stability - and look what
they do. If we left them to their
own devices, they'd be extinct within
a century.
Joe doesn't look pleased as his line of thought.
GEORGE
We'll be doing them a favor.
INT. AIRPORT - SEATTLE - DAY
Tricia walks through the airport.
EXT. AIRPORT - SEATTLE - DAY
She comes out and hails a cab.
INT. ROOSEVELT HOTEL - ROOM - DAY
Tricia is on the phone with Susan.
Intercut phone conversation:
TRICIA
He's staying at the Hilton.
SUSAN
Now there's a needle in a haystack.
TRICIA
He's been doing research for his book
in Seattle and always stays at the
Hilton. He's a creature of habit.
SUSAN
Please don't use the word "creature."
And be careful!
EXT. SEATTLE STREETS - NIGHT
A police car moves down a city street.
INT. POLICE CAR - NIGHT
Sitting in back are Joe and George. Two POLICEMEN sit up
front.
POLICEMAN DRIVING
So how's the book coming?
JOE
Oh, it's coming right along. I was
telling my assistant here what you
told me earlier about how many guns
are on the street.
The policeman in the passenger seat turns back to them.
OTHER POLICEMAN
There are more goddamn guns than
people out there.
GEORGE
More guns than people? Surely that's
an exaggeration.
OTHER POLICEMAN
Believe it.
Suddenly a CALL comes over the radio. The driver swerves to
the curb.
POLICEMAN DRIVING
I don't think you want to be a part
of this.
Joe and George get out.
EXT. SEATTLE STREETS - NIGHT
They watch the police car speed away.
GEORGE
More guns than people?
JOE
And their policemen don't get paid
any more than their teachers do.
GEORGE
Extraordinary. The committee will
love this.
EXT. HILTON - NIGHT
A cab pulls in front of the Hilton, and Joe and George get
out.
GEORGE
I have some business to take care of.
What you've shown me is perfect. I'm
recommending you for an accommodation.
JOE
You have your key?
GEORGE
Yes. But I don't need a key, and
neither do you.
George starts wandering off down the street.
JOE
You do if you want to keep your
cover. Goodnight.
INT. HILTON - SUITE - NIGHT
Joe opens the door and comes in. He turns on the light.
Tricia is sitting in a chair, waiting for him.
JOE
How did you find me?
TRICIA
It wasn't very hard.
Tricia gets up, fetches a newspaper that is sitting on the
table, and approaches Joe.
TRICIA
The bellboy let me in. I said I was
your wife.
She hands him the paper.
The paper is turned to the 1947 PHOTO OF "JOE" after the
automobile accident. Joe looks at it without reacting.
JOE
Where did you get this?
TRICIA
You'd be surprised.
Tricia's voice breaks. This isn't easy for her.
JOE
This guy looks a lot like me.
TRICIA
He looks exactly like you, Joe. Why
didn't you tell me about Helen and
Amy?
Joe clears his throat.
JOE
Who are Helen and Amy?
TRICIA
Goddamn it, I love you so much . . .
Tricia is very close to losing it now. She moves away,
trying to gain control over her emotions.
Joe looks helpless and trapped.
Tricia gets ahold of herself and turns to face him.
TRICIA
Please tell me the truth.
Joe considers this.
JOE
You'd better sit down.
INT. ROOSEVELT HOTEL - ROOM - NIGHT
Helen, Amy and Brad are waiting in a hotel room when the door
opens and Tricia enters.
TRICIA
He'll agree to an interview.
Brad gets to his feet.
BRAD
Fantastic!
TRICIA
There are conditions.
HELEN
I thought so.
TRICIA
He needs a couple weeks to finish up
his research.
Brad looks at Helen and Amy to get their reaction to this.
HELEN
I wouldn't trust him.
AMY
Me neither.
TRICIA
I do.
AMY
Lord knows how much more evil he can
do in two weeks.
TRICIA
We don't know he's doing anything
"evil" here.
HELEN
Where do you think AIDS comes from,
dear?
BRAD
You think it's an alien virus?
AMY
Do you have a better explanation?
HELEN
A few weeks more is out of the
question. I say we tell the world
what we know.
AMY
And go to the police.
TRICIA
I promised him no police.
AMY
That wasn't wise, dear.
HELEN
What else did you promise him?
TRICIA
After the interview, he can go back
to where he came from.
HELEN
You sound like you're on his side.
TRICIA
I didn't know there were sides here.
HELEN
Tricia, he's an impostor. He's an
alien. He's been studying us like
bugs, infecting us with strange
diseases to see how we respond, Lord
knows what else.
AMY
He has to be stopped, not pampered.
BRAD
Ladies, I think we're getting ahead
of ourselves. Tricia, is there any
way I could have a brief interview
right away? Just to set the ground
rules?
TRICIA
I could ask. But not tonight.
BRAD
Of course.
TRICIA
I'll talk to him in the morning. If
you'll excuse me, I'm exhausted.
She turns and leaves.
AMY
She's still in love with him, poor
dear.
INT. ROOSEVELT HOTEL - TRICIA'S ROOM - NIGHT
Tricia comes into her room. She plops down on the bed.
She stares up at the ceiling until the tears come.
INT. HILTON - DINING ROOM - DAY
Joe and George are having breakfast. They are having Eggs
Benedict, and George inspects each bite carefully before
putting it into his mouth.
JOE
Like it?
GEORGE
I'm not sure.
They eat some more.
JOE
I think we have a problem.
GEORGE
Pardon me?
JOE
Tricia knows.
GEORGE
Tricia knows what?
JOE
Who I am.
George looks at him with interest and concern.
JOE
Not the details, of course. It's
actually pretty complicated, the way
she explained it, but she knows I'm
not from here.
GEORGE
How could she possibly know?
JOE
She's not the only one. Helen, the
woman I lived with over 40 years
ago - and Amy, that I lived with 20
years ago. And unfortunately there's
a magazine reporter involved, too.
George gets up from the table.
GEORGE
Don't tell me this here!
He hurries off, as Joe scrambles to follow him.
INT. HILTON - SUITE - DAY
George is very upset at what Joe has told him.
GEORGE
You've jeopardized the entire
development plan!
JOE
If that's true, then I'm glad. I
don't approve of it.
GEORGE
Which is insubordination - and cause
enough to relieve you of your duties
here.
JOE
Being discovered was bound to happen
sooner or later.
GEORGE
I'm taking over your assignment.
You'll be returning to Alpha as soon
as I can arrange it.
Joe's jaw drops. This is the last thing he expected to hear
and the last thing he wants to happen.
JOE
That's not fair.
GEORGE
Tonight, if possible.
JOE
Who made this decision to turn Earth
into a zoo? There was no talk of
that when I left.
GEORGE
You left a long time ago. I was
hoping you'd cooperate in the
transition, but since you won't, you
leave me no choice.
JOE
You need me. I know more about
Earthlings than anyone.
George thinks a moment.
GEORGE
This reporter - who is he?
JOE
Brad Mccall. He writes for Time.
GEORGE
Time as in eternity?
JOE
It's the name of a magazine.
GEORGE
And he's also in town?
JOE
They're all staying at the Roosevelt
Hotel.
George turns and starts to leave.
JOE
There must be a compromise we can
work out. Let me talk to the
committee.
George exits without responding. Joe takes a deep breath.
EXT. HILTON - DAY
A cab pulls up in front of the Hilton. Tricia gets out.
As she does, George comes out of the hotel and turns up the
street. Tricia sees him - but he doesn't notice her.
Tricia enters the hotel.
INT. HILTON - SUITE - DAY
Joe opens the door to find Tricia. He lets her in.
JOE
I was just going to go looking for
you.
TRICIA
Really?
JOE
Something's come up. I may have to
leave sooner than I thought.
Tricia looks at him, waiting for more.
JOE
I'm being called home.
TRICIA
When? And why?
JOE
Maybe tonight. It's complicated.
The news slaps Tricia in the face, and her expression is
flushed with shock. Suddenly, spontaneously, she is in his
arms, holding him, kissing him . . .
TRICIA
Joe . . .
. . . and slowly Joe begins to respond, kissing her back,
until their growing passion moves them toward the bedroom.
INT. ROOSEVELT HOTEL - ROOM - DAY
Helen, Amy and Brad sit around a table playing cards when
there is a knock on the door.
Brad is the first to get up.
BRAD
I'll get it.
He opens the door to find George.
GEORGE
Brad McCall?
BRAD
Yes.
GEORGE
There's a message for you at the desk
downstairs.
He turns to call to the women inside.
BRAD
I'll be right back.
INT. ROOSEVELT HOTEL - HALLWAY - DAY
Brad follows George down the hallway toward the elevator.
BRAD
You know what it's about?
GEORGE
I just work here, sir.
They get to the elevator, and George presses the button.
There's an awkward silence as they wait.
Then the door opens, and they step inside.
INT. ROOSEVELT HOTEL - ELEVATOR - DAY
They are alone in the elevator.
Suddenly George grabs Brad by the head, his hands pressing
the writer's forehead as if he were squeezing a melon.
George's grip is incredibly strong, putting Brad in great
pain.
Then a GLOWING LIGHT surrounds Brad's head.
George has his eyes closed, in great concentration.
Both suddenly TWITCH, dramatically, as if they have been
shocked by an electric current.
When George speaks now, it is from Brad's body and in the
VOICE of Brad. George has managed to exchange the host bodies
for their individual energy systems.
In other words, George now looks like and talks like Brad,
and Brad looks like and talks like George.
GEORGE (AS BRAD)
Sorry about that.
BRAD (AS GEORGE)
What the hell is this?
GEORGE (AS BRAD)
And sorry about this, too.
He sprays Brad with a small canister, and Brad passes out.
George punches an elevator button. The elevator stops, and
the door opens.
George drags the body of Brad out into the hallway, leaving
it there and getting back into the elevator.
He punches a button again.
INT. ROOSEVELT HOTEL - HALLWAY - DAY
The elevator opens as George (as Brad) gets out. He hurries
to the door of the women's room. He tries it - but it's
locked.
He knocks.
Helen answers the door.
GEORGE (AS BRAD)
I've just been put on a major story.
I'm leaving town.
HELEN
But what about your interview?
GEORGE (AS BRAD)
Sorry, no time. I have a plane to
catch. Anyway, I think this is all
a hoax.
HELEN
What?
GEORGE (AS BRAD)
I think you should both go back home.
This entire affair is a hoax.
He hurries off, leaving Helen staring at him, dumbfounded.
She goes back into the room.
INT. ROOSEVELT HOTEL - ROOM - DAY
Amy notices her confused expression.
AMY
What was that about?
HELEN
Brad's leaving. He thinks this is a
hoax.
Amy is as surprised by the news as Helen.
INT. HILTON - SUITE - BEDROOM - DAY
Joe and Tricia are cuddling after lovemaking when they hear
the door open outside.
JOE
It must be George.
He slips out of bed.
TRICIA
He's also . . .?
Joe nods and goes into the main area.
INT. HILTON - SUITE - DAY
Joe enters, seeing a complete stranger (George looking like
Brad) in the room.
JOE
I beg your pardon.
GEORGE (AS BRAD)
You'll be leaving at midnight.
JOE
Who are you?
GEORGE (AS BRAD)
It is I, George. I mean me, George.
JOE
Why did you take a new body?
GEORGE (AS BRAD)
It's a long story.
Tricia comes into the room, wearing one of Joe's bathrobes.
George is beside himself, seeing her.
TRICIA
Brad?
GEORGE (AS BRAD)
Get her out of here!
TRICIA
What are you doing here.
JOE
This is George. He took a new body.
TRICIA
But it's Brad's body.
JOE
George, what's going on here?
GEORGE (AS BRAD)
Too many people are snooping around.
You haven't been very careful, have
you?
JOE
We can trust Tricia.
GEORGE
We can trust nobody!
He turns and heads for the door.
TRICIA
I have something to say here!
At the door, George turns and stares at Joe.
GEORGE (AS BRAD)
I'm sending you home. I'll phone
with details.
And he's gone.
Tricia goes to Joe, and they embrace.
TRICIA
Joe, I don't like this. What
happened to Brad?
JOE
He's fine. He just looks like George
looked before.
TRICIA
I don't understand.
JOE
I can't explain it right now.
TRICIA
Joe, I-- . . .
JOE
I said, I can't explain it! I'm
sorry. Trish, I don't want to leave
like this. I need to contact my
people.
TRICIA
Can I help?
JOE
I need to be alone for a while.
This visibly hurts Tricia. Joe turns away, avoiding her.
EXT. HILTON - DAY
Tricia comes out of the hotel and hails a cab.
As she gets into it, George (as Brad) appears from out of a
doorway and gets into the cab behind Tricia's.
EXT. SEATTLE STREETS - DAY
George's cab follows Tricia's cab through the streets of the
city.
EXT. ROOSEVELT HOTEL - DAY
The first cab stops, and Tricia gets out, going into the
hotel.
A moment later, the second cab stops, and George (as Brad)
goes into the hotel.
INT. ROOSEVELT HOTEL - HALLWAY - DAY
An elevator door opens, and Tricia comes out. She moves down
the hallway.
The second elevator door opens. George (as Brad) gets out
and follows her.
Tricia comes to a door and knocks on it. Helen opens the
door, and Tricia enters the room.
George carefully approaches the door. He glances around,
measuring his next move, when he spots a bellboy coming down
the hallway.
George walks to the bellboy.
GEORGE (AS BRAD)
There seems to be a problem on the
stairway.
BELLBOY
What kind of problem, sir?
GEORGE (AS BRAD)
I'll show you.
George leads the way to the door leading to the stairs.
INT. ROOSEVELT HOTEL - DAY
AMY
It all happened so suddenly.
HELEN
Brad said this was all a hoax, he had
another story to do - and that's that.
TRICIA
It's not a hoax. And it wasn't Brad.
That's George in Brad's body.
Helen and Amy exchange a glance of surprise.
HELEN
Who's George?
INT. ROOSEVELT HOTEL - STAIRWELL - DAY
As soon as George (as Brad) and the bellboy are in the
stairwell, George turns and, using the same grip as before,
drops the bellboy to his knees, a GLOWING LIGHT surrounding
his forehead.
Then both TWITCH, and their energy systems exchange bodies.
BELLBOY (AS BRAD)
What the hell?
GEORGE (AS BELLBOY)
Sorry to have to do this.
He sprays the bellboy with the canister, knocking him out.
George, as the bellboy, leaves the stairwell.
INT. ROOSEVELT HOTEL - ROOM - DAY
There's a knock on the door, and Helen answers. George
(bellboy) is at the door.
GEORGE (AS BELLBOY)
There's a message at the desk for the
young lady.
HELEN
Tricia?
Tricia comes forward.
TRICIA
Yes?
GEORGE (AS BELLBOY)
You have a message at the desk.
TRICIA
I'm not expecting a message.
GEORGE (AS BELLBOY)
A family emergency. Something about
your mother, I believe.
TRICIA
I'll be right down.
She quickly closes the door, then gestures to Helen and Amy
to keep quiet.
INT. ROOSEVELT HOTEL - HALLWAY - DAY
George (as bellboy) faces the closed door. He waits
patiently for Tricia to come out. He puts his ear to the
door.
INT. ROOSEVELT HOTEL - ROOM - DAY
Tricia leads Helen and Amy away from the door, then speaks to
them quietly.
TRICIA
He said it was a family emergency.
Both my parents are dead.
INT. ROOSEVELT HOTEL - HALLWAY - DAY
George is waiting for Tricia to come out when the door to the
stairwell opens, and the bellboy (as Brad) moves slowly into
the hallway, still dizzy. He sees "himself" down the hallway.
BELLBOY (AS BRAD)
Hey, you!
There is an inter-hotel phone on the wall and the bellboy
moves quickly to it.
Seeing this, George (as bellboy) hurries down the hallway.
The bellboy (as Brad) is on the phone.
BELLBOY (AS BRAD)
Jane, this is Tim. . . . Of course it
is. Call the police. . . . Dammit,
it's me! I need the police and a
doctor!
He slams down the phone, exasperated (i.e. Jane on the other
end hears "Brad's voice," not her co-worker's).
INT. ROOSEVELT HOTEL - ROOM - DAY
Tricia, Helen and Amy carefully open the door and peer out.
The coast is clear.
INT. ROOSEVELT HOTEL - HALLWAY - DAY
The three women move into the hallway - and see "Brad" moving
toward them.
HELEN
Brad?
Tricia grabs Helen and Amy and moves them back into the hotel
room.
INT. ROOSEVELT HOTEL - ROOM - DAY
Tricia slams the door and puts on the safety chain.
TRICIA
That's George in Brad's body.
HELEN
I'm calling the police.
She heads for the phone but Tricia intercepts her.
TRICIA
Wait.
AMY
He saw us! Helen, call the police.
TRICIA
I promised no police. We're just
going to sit tight.
The three women stare at the door, as if waiting for it to
explode open at any moment.
INT. HOSPITAL ROOM - DAY
Brad (as George) is in a hospital bed, on the telephone.
BRAD (AS GEORGE)
I don't care what I sound like, it's
Brad!
The voice on the other end isn't convinced, and Brad slams
down the receiver. He gets up and starts to dress.
A NURSE enters the room.
BRAD (AS GEORGE)
Lady, don't say it. I'm rapidly
becoming irrational and dangerous.
The nurse considers this, then backs out of the room.
INT. ROOSEVELT HOTEL - HALLWAY - DAY
The door opens and Tricia peers into the hallway. It's safe.
She gestures, and Helen and Amy follow her out into the
hallway. They hurry to the elevator.
EXT. ROOSEVELT HOTEL - DAY
Outside the hotel, Tricia hails a cab. The ladies get in.
CABBY
Where to, ladies?
TRICIA
The Hilton.
INT. HILTON - SUITE - DAY
Joe is at a table, sitting in front of an open briefcase,
which houses a complex electronic signaling system. He's
trying to contact home - but without luck.
INT. HILTON - HALLWAY - DAY
A HILTON BELLBOY is unlocking the door, letting in Tricia,
Helen and Amy.
HILTON BELLBOY
You've got to quit locking yourself
out.
TRICIA
I know, I'm terrible. My husband
says I have a mind like a sieve.
Thank you so much for your help.
The three women enter the room.
INT. HILTON - SUITE - DAY
Joe is still at the electronic device when the women enter.
He looks up and sees them.
HELEN
Don't try anything. The police know
we're here!
Joe gets to his feet.
JOE
Trish?
TRICIA
There's no police.
Helen gives Tricia a dirty look.
AMY
But the desk clerk knows we're here.
He'll come looking for us if we don't
return safely.
JOE
Who are you?
Joe studies them, remembering.
JOE
Helen? Amy? You've changed so much.
HELEN
We get old here, Joe.
JOE
I know.
TRICIA
What can we do to help?
Helen and Amy react to this.
TRICIA
I'll help, even if they won't.
JOE
Actually I do need your help.
HELEN
Don't trust him, Tricia.
AMY
He's still Mr. Smooth-Tongue.
JOE
How could I have stayed with you,
since you grow old and I don't? I've
meant no one any harm. But now -
there's been a change. I don't
understand it, but I have to try and
stop it. I can't do it alone.
TRICIA
What kind of change?
JOE
My people plan to turn Earth into a
kind of zoo, a destination for
tourists. They think you're
primitive and cute.
The women regard one another, letting this sink in.
TRICIA
How can I help?
The phone rings.
JOE
Excuse me.
He answers the phone.
JOE
Hello? . . . You sound different. .
. . . I know where it is.
He hangs up.
JOE
I'm supposed to go home tonight. I
think I may be able to change his
mind - but there's no point if I
can't stop them.
HELEN
I'm calling the police right now.
She starts away but Tricia stops her.
TRICIA
How can we beat them that way? They
obviously have superior technology.
JOE
She's right. The only way is to
convince my people that you
Earthlings aren't as primitive and
exotic as you appear to be.
There's a silence, as the larger meaning and challenge of
this sinks in.
EXT. HILTON - DAY
The women come out and get into a cab.
EXT. ROOSEVELT HOTEL - DAY
The women get out of the cab in front of the Roosevelt Hotel.
Brad (as George) comes out of a doorway to them.
BRAD (AS GEORGE)
Where the hell have you been? It's
Brad.
INT. COCKTAIL LOUNGE - DAY
Brad and the women sit around a corner table, speaking in
hushed tones.
BRAD (AS GEORGE)
I can't get my editor to believe it's
me. But I'm writing this story, even
if I have to give it to the Inquirer.
Unfortunately, I'm going to need more
evidence than I have.
TRICIA
If we help Joe, maybe he'll give you
an interview - and help you get your
body back.
AMY
Can we trust him?
TRICIA
I don't think we have a choice.
The truth of this sinks in, all around the table.
EXT. SPACE NEEDLE - NIGHT
Joe is standing near the space needle, waiting. He looks at
his watch.
From out of nowhere, George (as bellboy) appears.
GEORGE (AS BELLBOY)
It's me. I have a cab waiting.
JOE
I think there's more things you need
to see before I go. You really don't
understand how primitive these people
are. They have former teachers and
nurses living on the streets.
GEORGE (AS BELLBOY)
What do you mean?
JOE
They get fired and can't find jobs.
They lose their homes. They have no
money. They live on the streets and
sleep in alleys and doorways, like
stray dogs.
GEORGE (AS BELLBOY)
You expect me to believe that?