V: HOMECOMING

PART II

FADE IN:

EXT. CITY HALL PARK

A number of city dignitaries, including the MAYOR and Elaine and Chris Johnson, have gathered in City Hall Park to welcome the arrival of Jessica. A carefully screened pool of reporters has been assembled to cover the event. There is a heavy police presence in the area to keep a crowd of curious onlookers at a distance. Derrick Sullivan is among them. The people in the crowd start looking up into the sky.

EXT. SKY ABOVE CITY HALL PARK

A Visitor squad shuttle descends toward the park and touches down in a clearing.

EXT. CITY HALL PARK

The mayor walks over to the shuttle as the door to the hatch of the center compartment opens. Two guards in gold helmets step out and assume positions on either side of the hatch. Jessica and Phillip then emerge. The mayor walks up to Jessica, and the two shake hands.

MAYOR: Welcome to New York City, commander.

JESSICA: Thank you, Your Honor. It's a pleasure to be able to visit your city again.

INT. MARIA'S CAMPUS APARTMENT/LIVING ROOM

Lisa is watching the welcoming ceremony for Jessica on television. On television: Jessica and the Mayor are walking off the platform.

REPORTER (voice-over): (on television) It looks like the mayor and the commander have decided to keep the ceremonial formalities of this visit as brief as possible. Both of them pledged to work together to see that the peace agreement is successfully implemented. Now, they're going to spend the rest of the day behind closed doors trying to hammer out the details.

Maria walks into the living room, looking like she just woke up. She notices that Tony is gone.

MARIA: Where's Tony?

LISA: Looks like he took off. I found this on the refrigerator.

Lisa hands Maria a slip of paper. Maria takes the note and reads it.

MARIA: Dear Sis: Don't want to overstay my welcome. Thanks for giving me a place to crash. Love, Tony. I guess he didn't want to stick around after you told him Brad was coming back this morning.

LISA: Smart move. Somehow I don't think the two of them would hit it off.

The front door opens and Brad walks in.

BRAD: Hello, ladies. I'm back.

LISA: Can't you at least knock before you barge in?

Brad walks over to Lisa and kisses her on the forehead.

BRAD: I missed you, too.

LISA: You can't just walk in here. This isn't the men's locker room.

BRAD: All right. I apologize. It won't happen again. I was just anxious to see if you were okay.

LISA: We managed all right.

MARIA: Yeah, especially considering you left us here to fend for ourselves.

BRAD: I wasn't abandoning you. It's just that my mom was really worried about me.

Brad sits down on the sofa.

BRAD: So what happened while I was gone?

LISA: You mean besides the Visitors releasing that blue dust over the city?

BRAD: Yeah.

MARIA: Well, Lisa dragged me to that ridiculous campus protest rally where we were almost clubbed and gassed to death.

BRAD: I saw it on the news. You actually went to that thing?

MARIA: Yes and regretted every minute of it.

LISA: Don't listen to her. We showed this country has become nothing more than a thinly veiled police state.

BRAD: You're beginning to sound like some kind of wacko college radical.

LISA: Come on, Brad. The entire city looks like an army barracks, and now the Visitors are back. I think they've had their hands in all of this from the very beginning.

BRAD: You're going off the dead end, Lis.

MARIA: For once, I'm afraid I have to agree with him.

Lisa gets up and storms out of the living room.

LISA: Just forget it. I obviously can't have an intelligent conversation with either of you.

EXT. EL BARRIO NEIGHBORHOOD

Tony walks along a row of abandoned buildings. A big, old Cadillac comes around a corner and pulls up beside him. OX, a very large Hispanic man with slicked-back hair, a goatee, and tatoos running up both arms, gets out and grabs him.

OX: Hey, Sparrow, we've been looking for you.

TONY: Ox, my man, what a coincidence. I was just on my way to see you guys.

OX: Then get in.

Ox shoves Tony into the back seat, climbs in after him, and closes the door. The car then drives off.

INT. CADILLAC

Tony sits sandwiched between Ox and ROMEO, the ruggedly handsome twenty-year-old leader of the Barrio Brothers. Two other gang members sit in the front: COWBOY, the driver, and SHOTGUN, the lookout.

TONY: Hey, Romeo. What's been happening?

ROMEO: After your little stunt in the park, the cops have been all over us like flies on a dog turd.

TONY: They've been looking for me?

ROMEO: No. I think they just assumed we did it and were beating the bushes hoping to get lucky.

TONY: Then how'd you know it was me?

ROMEO: Angel came to us and spilled his guts.

TONY: Where is he?

ROMEO: We sent him to hide at his grandmother's place.

TONY: That's in Renegade territory.

ROMEO: Yeah. The cops will never think of finding him there. So where have you been?

TONY: Visiting my sister.

ROMEO: You didn't tell her anything, did you?

TONY: Course not!

ROMEO: Good. I don't want it getting out that two of our homeboys ran away after getting their butts kicked by some drunk vic. The Barrio Brothers got a reputation to protect.

TONY: Does the padre know?

ROMEO: No, but the cops have been giving him a hard time. I'm going over to see him right now.

TONY: What are you going to tell him?

ROMEO: I'm not going to tell him anything. He needs to be kept out of this. We'll just kick back and ride it out.

EXT. EL BARRIO MISSION CHURCH/BACK PARKING LOT

The Cadillac pulls into the back parking lot of the mission church. Romeo and Tony get out, and the car drives away. Several gang members are playing basketball a few yards away and stop when they see Romeo and Tony coming. One of them, BANDIT, calls out.

BANDIT: (to Tony) Welcome back, Sparrow!

TONY: Thanks, Bandit.

BANDIT: You guys want to shoot some hoops with us?

ROMEO: Maybe later. We gotta talk to Father Juan first.

INT. EL BARRIO MISSION CHURCH/FATHER JUAN'S OFFICE

FATHER JUAN VIDAL, the pastor of the mission church, is sitting at a desk in his office. There is a knock on his door, and he looks up.

FATHER JUAN: Come in.

The door opens and Romeo and Tony step inside.

ROMEO: Hello, padre. You wanted to see me?

FATHER JUAN: Yeah. We have to talk.

Romeo and Tony sit down on a couch along the wall in front of the desk.

FATHER JUAN: Antonio, I haven't seen you for a while. Where have you been?

TONY: Visiting my sister.

FATHER JUAN: How fortunate for you. While you were away, I had several visits from the police concerning the stabbing incident in Central Park. You wouldn't happen to know anything about that, would you?

TONY: Just what I heard on T.V.

FATHER JUAN: I see. I couldn't help but notice that Angel has also disappeared. Do you know where he might be?

ROMEO: Come on, padre, chill out. The cops don't have anything on us.

FATHER JUAN: That's not the point. I want to know the truth.

ROMEO: The truth? You think we did it, don't you? You're siding with the cops.

FATHER JUAN: No, I'm not. You know better than that.

ROMEO: Well, it sure sounds that way to me.

FATHER JUAN: I'm just trying to help. If you guys are in trouble, I want to know about it.

The telephone on Father Juan's desk rings. He answers it.

FATHER JUAN: Hello.

After several seconds, a look of worry spreads over Father Juan's face.

FATHER JUAN: When was he brought in? (pauses) All right, Mrs. Mendoza. I'm on my way.

Father Juan hangs up the phone and looks over at the Romeo and Tony.

FATHER JUAN: That was Angel's grandmother. Angel's been shot.

TONY: What?

Father Juan gets up.

FATHER JUAN: I'm going over to the hospital.

ROMEO: We're coming with you.

INT. HOSPITAL/EMERGENCY ROOM

Father Juan walks into the emergency room with Romeo and Tony behind him. He sees Angel's grandmother, VIOLETA MENDOZA, sitting in the waiting area. She is too distraught to get out of her chair. Father Juan walks over to her, and she holds out her hand to him, desperate for someone to comfort her. Father Juan takes her hand and sits next to her.

FATHER JUAN: What happened, Violeta?

VIOLETA: Angelito came to stay with me. At first, I didn't think much of it, but then I saw he had a gun. I asked him if he was in some kind of trouble, and he said no. Then I asked him why he had a gun, and he told me he needed it for protection. I said you shouldn't be walking around Renegade territory with a gun, but he told me not to worry 'cause could take care of himself. It didn't take long for the Renegades to find out he was at my place. They came over and started shouting for him to come out. Angelito grabbed his gun and ran out the door before I could stop him. I heard a lot of yelling and then shooting. When I went outside, I...

Tears streaming down her face, Violeta becomes choked with emotion. Father Juan puts an arm around her.

FATHER JUAN: It's okay. Take your time.

VIOLETA: I saw him lying on the ground in a pool of blood. They shot him in the head and ran off.

Everyone is silent except for Romeo who paces angrily.

ROMEO: We're going to make those suckers pay!

Father Juan grabs Romeo's arm.

FATHER JUAN: This isn't the time to talk about revenge. Angel needs our prayers right now.

Romeo pulls his arm away.

ROMEO: A lot of good that's gonna do.

INT. CITY HALL/MAYOR'S OFFICE

The Mayor is talking to Jessica and Phillip inside his office when the door opens and one of the Mayor's aides invites Chris Johnson to enter.

MAYOR: Ah, Chris, come in. I want to introduce you to our guests.

Chris walks over to them, and the Mayor turns to Jessica and Phillip.

MAYOR: Jessica, this is Christopher Johnson, our new chief of patrol. He's in charge of all the uniformed officers in our police department.

Chris shakes Jessica's hand.

CHRIS: Nice to meet you, Commander.

JESSICA: My pleasure, Chief Johnson. This is my deputy chief of security, Phillip. He's been assigned to serve as a liaison officer with your police department so that we can coordinate security matters.

CHRIS: I see.

MAYOR: (to Chris) I've chosen you to be Phillip's contact inside the department.

Phillip offers his hand.

PHILLIP: I look forward to working with you.

Chris somewhat reluctantly shakes Phillip's hand.

MAYOR: The commander and I have agreed to an accelerated timetable for Visitor resettlement within the city. Obviously, we're concerned about ensuring the safety of the new arrivals and preventing any disruptions.

CHRIS: Armed Visitors walking the streets could make that very difficult.

JESSICA: That's exactly what we hope to avoid. We don't want a large security presence on the ground which might create unnecessary tensions. We intend to work through you and the national guard instead.

CHRIS: I just want to make one thing clear, commander. I'm not some kind of cipher. I won't standby and allow the men and women of my department to be used like they were your tools.

JESSICA: I assure you that this will be a strictly cooperative effort. We seek a peaceful integration with your people based on mutual respect and understanding. We don't intend to do anything to jeopardize that.

MAYOR: Neither do we. You'll have our full cooperation.

INT. UNIVERSITY JOURNALISM SCHOOL/PAUL'S OFFICE

Paul is sitting at his desk grading exams. There is a knock at the door.

PAUL: Come in.

The door opens and Robert Ash walks in.

ASH: I'm sorry to interrupt what you're doing, but I have some news for you.

Paul puts down his pen.

PAUL: That's all right, Bob. I could use a break.

Ash walks over and sits down.

PAUL: So what's the news?

ASH: I've just been informed that a group of Visitor exchange students is going to be arriving on campus next week.

PAUL: Exchange students?

ASH: That's right. Arrangements have been made for them to study at the university.

PAUL: Why?

ASH: Apparently, the city and the Visitors are anxious to begin the resettlement process. They hope this exchange program will make it easier for the first batch of new arrivals to assimilate into human society.

PAUL: Since you're telling me all of this, I assume that I'm going to be involved in this program somehow.

ASH: You're very perceptive. One of these students is going to be assigned to the journalism school. Given your popularity with the other students, I thought you would make a perfect mentor.

PAUL: That idea really doesn't appeal to me.

ASH: Please, Paul, I'm asking you to do this as a personal favor to me. This program is a top priority for the university. If the journalism school doesn't participate, it's just going to bring more unwanted attention from the administration. We need to show them a little cooperation. Come on. What do you say?

Paul thinks for a moment.

PAUL: All right.

ASH: Great. Make sure you mark next Monday morning on your calender. There's going be some kind of welcoming ceremony at Washington Square Park.

PAUL: Can't I at least skip that?

ASH: I'm sorry, but it's mandatory. Elaine Johnson is going to be officiating.

PAUL: The mayor's press secretary?

ASH: The one and only. We can't just blow off one of the journalism school's most prominent alumni.

PAUL: Okay. I'll be there.

ASH: Thanks, Paul. I owe you one.

INT. HOSPITAL/INTENSIVE CARE UNIT

A doctor stands over who Angel lies unconscious in the intensive care unit. The top of his head is completely bandaged, and he is hooked up to a number a life support systems. A nurse brings in Father Juan, Tony, and Angel's grandmother who stand at the foot of the bed.

TONY: Doc, he's going to make it, isn't he?

DOCTOR: We've done all we can for your friend. The rest is up to him.

TONY: (turning to Angel) Hang in there, partner. A bullet is nothing to a tough dude like you.

The doctor walks over to Father Juan.

DOCTOR: Father, could I see you for a second?

The doctor and Father Juan walk out of earshot of the others.

FATHER JUAN: So what's the prognosis, doctor?

DOCTOR: To be perfectly honest, I don't see much chance of his condition changing. The damage is very severe. (pausing) You might want to start making the necessary arrangements.

The doctor looks at the priest for a second and then walks away. Father Juan looks over at Tony and Angel's grandmother as they stand at Angel's bedside.

INT. MARIA'S CAMPUS APARTMENT/KITCHEN

Maria is standing over the stove stirring something in a pan when she hears the front door open and close.

MARIA: Lisa, is that you?

Lisa walks into the kitchen.

LISA: Yeah. I'm back.

MARIA: You're just in time for dinner. I'm making your favorite. Macaroni and cheese.

LISA: (half-heartedly) Yum.

Lisa goes over to the refrigerator, opens it, and takes out a can of soda.

MARIA: What's wrong?

Lisa opens the can and takes a drink.

LISA: I volunteered to help Professor Maitland on a project.

MARIA: You mean to tell me that helping Dr. Dreamboat is making you unhappy?

LISA: It's the project I don't care for. A bunch of Visitor exchange students are coming to the university next week. One of them is going to study at the journalism school, and Professor Maitland asked me if I could show him around and help him get settled in.

MARIA: Didn't you ever tell him about your brother?

LISA: No. And I'm not going to.

MARIA: Why not?

LISA: Because it's a subject I don't like to talk about.

MARIA: You could have just told him "no" and made up some excuse.

LISA: (sighs) I'm a pushover. I admit it.

Lisa takes another drink.

MARIA: Well, how bad can it be? I think it sounds kind of interesting. I've never met a Visitor before.

LISA: You're lucky. The Visitors are like a plague. They destroy everything they come in contact with.

MARIA: You shouldn't make generalizations. This Visitor might be really nice for all you know.

LISA: Maria, we're talking about reptiles here. A snake is a snake.

EXT. GRACIE MANSION/COURTYARD

An outdoor reception is being held at the mayor's house to celebrate the Visitor settlement agreement. As a band plays in the background, waiters with trays of champagne glasses weave their way through a crowd of city dignitaries. Elaine, Charles, and Chris Johnson walk through the crowd. A councilman comes up to Elaine.

COUNCILMAN: Elaine, congratulations. I heard they approved the student exchange program. I thought it was a wonderful idea.

Charles looks over at Chris and rolls his eyes. Chris smirks.

ELAINE: Thank you, councilman. I'm really excited about it. In fact, I'll be welcoming the first group of students next week at Washington Square Park.

COUNCILMAN: Now there's a symbolic gesture.

ELAINE: Well, we didn't want the park to become a magnet for all sorts of malcontents. Besides, my alma mater needs some positive press coverage.

The mayor and Jessica come out into the courtyard. A waiter approaches them. The mayor takes two champagne glasses and hands one to Jessica.

MAYOR: Ladies and gentleman, could I have your attention please?

Everyone quiets down and looks over at the mayor and Jessica.

MAYOR: (to Jessica) Commander. (to everyone else) And distinguished guests. This is a truly historic day. Working together in a spirit of friendship and goodwill, we have developed a bold plan which will achieve what until now others have only talked about: The successful melding of two cultures from different worlds. In honor of this occasion, I want to toast all of those present here tonight whose hard work and dedication made this evening possible. (Lifting his glass) Cheers.

EVERYONE: Cheers.

MAYOR: Now go on and enjoy yourselves. You've earned it.

As a waiter walks by, Chris drinks his glass of champagne in one gulp and puts the empty glass on the waiter's tray. He turns to Elaine and Charles.

CHRIS: I think I'm going to head out.

ELAINE: You're leaving? But the night's still young.

CHRIS: I want to get home before curfew.

ELAINE: Chris, dear, you forget where you are. We don't have to abide by any curfew around here.

CHRIS: Well, Gail is expecting me, and I don't want her to get worried. Good night, Elaine.

Chris gives her a kiss on the cheek.

ELAINE: All right, party pooper. Have it your way. Give my regards to Gail.

CHRIS: I will. (to Charles) Catch you later, little brother.

Chris slaps Charles on the shoulder and walks off. He passes Phillip who is talking to a councilwoman. Phillip excuses himself and tries to catch up to Chris.

PHILLIP: Chief Johnson.

Chris reluctantly stops and turns toward Phillip who comes up to him.

PHILLIP: I was hoping to get the chance to talk to you before the evening was through.

CHRIS: Actually, I'm on my way home. Maybe we can talk some other time.

PHILLIP: Let me give you a ride.

CHRIS: That's a very generous offer, but I don't want to put you to too much trouble.

PHILLIP: It's no trouble at all. Really. I insist.

Sensing Phillip's eagerness, Chris gives in.

CHRIS: Okay.

EXT. SKY OVER MANHATTAN

Phillip's shuttle flies over the Manhattan skyline.

INT. JOSEPH'S SHUTTLE

Chris looks out the front window of the shuttle as the Manhattan skyline passes underneath them.

CHRIS: The city really looks different from up here.

PHILLIP: We're about to pass over the area you call Spanish Harlem. From what I've heard, our first settlement is going to be built there.

CHRIS: So I've been told.

PHILLIP: I can tell you're not pleased about that. In fact, I've sensed you're not very supportive of the negotiations in general. May I ask why?

CHRIS: I don't think they should be taking place while the city is under a state of emergency. The whole process is being rushed along, and I get the impression that's just the way your side wants it.

PHILLIP: So you still don't trust us.

CHRIS: Not if past experience is any guide.

Phillip looks over at Chris.

PHILLIP: I understand your suspicions. I'd feel the same way if I were in your place.

CHRIS: Would you?

PHILLIP: Whether you believe it or not, I'm on your side. There are many of us who want a genuine peace with your people. Unfortunately, there are others who do not.

Chris gives him a quizzical look.

PHILLIP: Does that admission surprise you?

CHRIS: A little. Which side is your commander on?

PHILLIP: Jessica is an honorable person. You can trust her.

CHRIS: So who can't we trust?

Phillip looks out the front window.

PHILLIP: I don't have time to go into that tonight. We're right over your home.

EXT. CHRIS JOHNSON'S HOUSE

The shuttle descends and lands on the street in front of Chris Johnson's house. The hatch opens and Chris steps out. Looking out the front door of the house, Martin sees his father and runs outside to the shuttle.

MARTIN: Whoa! Dad, this is so cool!

CHRIS: You think so?

Phillip pokes his head outside the hatch.

PHILLIP: And who is this?

CHRIS: Phillip, I'd like you to meet my son, Martin.

Phillip shakes Martin's hand.

PHILLIP: Pleased to meet you, Martin.

MARTIN: Can I take a ride?

CHRIS: Not tonight, son. It's getting late.

PHILLIP: Maybe some other time.

CHRIS: (to Phillip) Thank you for the lift home.

PHILLIP: It was my pleasure, Chief Johnson.

CHRIS: You can call me Chris.

PHILLIP: Good night, Chris. I'll be by tomorrow morning to pick you up.

Phillip goes back into the shuttle, the hatch closes, and the shuttle takes off.

MARTIN: Wow! I can't believe you really flew in that thing!

CHRIS: Come on, Marty. Let's go inside.

EXT. WASHINGTON SQUARE PARK

A large group of administrators, faculty, and students have assembled in Washington Square Park to welcome the arrival of the first group of Visitor exchange students. The police have thrown up a perimeter around the area to keep out a crowd of curious onlookers. Derrick Sullivan tries to sneak through the perimeter, but a police officer stops him.

POLICE OFFICER: And where do you think you're going?

DERRICK: I'm here to cover the welcoming ceremony. I'm a newspaper reporter.

POLICE OFFICER: Where's your press pass?

Derrick rummages through his pockets.

DERRICK: Sorry, officer, I must have forgotten it.

POLICE OFFICER: Then I'll have to ask you to leave.

Paul Maitland and Robert Ash see Derrick and walk over to him.

PAUL: Derrick, what's going on?

DERRICK: I'm trying to explain to this officer that I'm here to cover the welcoming ceremony, but he won't let me through without a press pass.

PAUL: It's all right, officer. He's with me. Here's my pass.

Paul shows the officer his pass.

POLICE OFFICER: I'm sorry, sir, but he needs to have his own pass before I can let him through.

ASH: Listen, officer, I'm the dean of the journalism school, and this young man is here at my invitation. Now, I hope that satisfies you because I don't want to have to file a complaint with the city.

POLICE OFFICER: (exasperated) All right. I'll let him through.

ASH: Thank you.

Derrick, Paul, and Dean Ash walk toward the ceremony grounds.

DERRICK: Thanks for helping me out back there. I couldn't get a pass because I wasn't a member of their prescreened press pool. Can you believe it?

PAUL: They don't want serious press coverage to spoil their little photo opportunity.

ASH: Paul, try to keep those comments to yourself.

DERRICK: So why are you here in the first place, professor?

PAUL: The dean convinced me to take charge of the Visitor student exchange program at the journalism school.

DERRICK: You're kidding.

PAUL: I'm afraid not.

The three of them reach the ceremony grounds which consists of a platform and rows of chairs arranged in front of it. Above the platform is a huge banner: "Welcome New Students." People are milling about. Elaine Johnson is walking nearby and sees Ash.

ELAINE: Dean Ash! It's good to see you.

ASH: Hello, Elaine. How's my favorite alumnus?

ELAINE: Extremely busy.

ASH: I can imagine. You've had a lot to organize in a very short period of time. I'd like you to meet Professor Paul Maitland. He's going to be in charge of the exchange program at the journalism school.

ELAINE: Good for you. We need all the help we can get. This program is going to be absolutely critical to the success of the Visitors' resettlement.

PAUL: I'm glad to be of assistance.

Derrick rolls his eyes and then looks up into the sky.

DERRICK: Here they come.

A Visitor transport shuttle appears overhead and descends toward the park. The university band which has assembled nearby strikes up the theme from "Star Trek: The Next Generation."

ELAINE: I guess that's my cue. Good to see you again, dean. And nice meeting you, Dr. Maitland.

ASH: Take care, Elaine.

Elaine walks off toward the front of the ceremony grounds. People begin taking their seats as the shuttle touches down in a clearing at the rear of the ceremony grounds. Everyone turns to look as the two center hatches of the shuttle open. Young uniformed Visitors, male and female, emerge and proceed down the center aisle in two long lines, filling in the reserved seating at the front, one row at a time. Derrick looks on as the Visitors file by.

DERRICK: Exactly how many of these students are there supposed to be?

ASH: They never gave me any number.

DERRICK: Well, there certainly are a lot of them.

PAUL: Yeah. It's a real bumper crop.

The Visitors continue filling the front rows. Among them is CARLOS, a young, good-looking Visitor resembling a Hispanic male human.

INT. EL BARRIO MISSION CHURCH/CHAPEL

Father Juan is standing over the open casket containing Angel's body when WIZARD, a gang member with the Renegades, peaks through the door to the chapel. Seeing that the coast is clear, he walks over to Father Juan.

WIZARD: Hello, father.

Father Juan looks up and is surprised to see him.

FATHER JUAN: Wizard, what are you doing here? This isn't a good place for a Renegade to be hanging out right now.

WIZARD: I just wanted to pay my respects to Angel. This is probably the only chance I'm going to get.

FATHER JUAN: I didn't know the two of you were close.

WIZARD: Well, I got to know him when we were helping you out at the day care center. He had a gentle side around little kids. I remember him telling me that he wanted to be good father when he had children because he didn't want them to make the same mistakes he had. He also said he wanted you to be proud of him because you were like the father he never had.

FATHER JUAN: I feel like I lost a son.

WIZARD: I'm sorry this happened to him. He didn't deserve to die, not like this.

The priest puts a hand on Wizard's shoulder.

FATHER JUAN: I wish more of the Renegades thought like you.

WIZARD: So do I. If any of them knew I came over here, they'd think I was selling out to the enemy. They're getting ready to meet the Barrio Brothers when they retaliate. There's going to be some serious gang banging.

FATHER JUAN: Not if I can help it.

Romeo and Tony walk into the chapel. Wizard's presence elicits immediate hostility.

TONY: What's he doing here?!

FATHER JUAN: Wizard just came by to pay his respects.

ROMEO: But he's a Renegade! He's got no business being here!

Romeo advances toward Wizard, but Father Juan intervenes.

FATHER JUAN: Remember where you are.

WIZARD: I don't want to cause any trouble, padre. I'll see you later.

Romeo and Tony give Wizard an icy stare as he makes a quick exit.

INT. UNIVERSITY JOURNALISM SCHOOL/PAUL'S OFFICE

The door to Paul's office opens, and Paul invites Carlos to have a seat.

PAUL: Please sit down. I have to apologize. I made arrangements for one of my students to show you around and help you get settled in, but I don't know what happened to her.

Carlos sits down.

CARLOS: That's all right, Professor Maitland. I'm not expecting anyone to nursemaid me.

Paul walks behind his desk and sits down.

PAUL: Well, I just want to make sure we do everything to make you feel at home. I think you're going to find studying at a human university to be an unusual experience. If you don't mind me asking, why did you decide to study journalism?

CARLOS: On the Mothership, I was assigned to the division of information. Given my background, it seemed a logical choice to study your field of journalism.

PAUL: So I take it you're responsible for reporting the news.

CARLOS: That's a part of my duties. The division is responsible for the collection, storage, and dissemination of all information. You could say that it operates as a library, archives, and news service.

PAUL: That sounds like a very centralized operation.

CARLOS: Yes. It promotes social order and stability. By controlling the flow of information, we prevent antisocial elements from creating confusion and discord.

PAUL: You're going to discover that humans in the United States tend to see things a little bit differently.

Lisa Kennedy appears at the door.

LISA: Sorry I'm late, Dr. Maitland.

PAUL: Lisa, I was beginning to worry about you.

Lisa sees Carlos who gets up.

PAUL: Carlos, I'd like you to meet Lisa Kennedy, one of my star students. She's agreed to be your tour guide. Lisa, this is Carlos, our new Visitor exchange student.

Carlos offers his hand.

CARLOS: Ms. Kennedy.

Lisa reluctantly gives Carlos a weak handshake and manages to force an awkward smile which looks more like a grimace.

INT. EL BARRIO MISSION CHURCH

Presiding over Angel's funeral service, Father Juan stands behind the altar while the choir sings a hymn. The pews are filled with mourning gang members, male and female, from the Barrio Brothers. In the first row, Tony and Romeo sit with Angel's grandmother. The choir finishes, and Father Juan walks down to Angel's casket at the foot of the sanctuary.

FATHER JUAN: I first met Angel shortly after I came to this parish over three years ago. Angel's grandmother, Violeta, asked me to visit him at juvenile hall where he was being held for drug possession. I have to admit that our first meeting didn't go very well. He was a hardened, street-smart kid who didn't have much use for priests, but I promised myself that somehow I was going to get to know that young man. (turning to look at all of the gangsters) I did that by getting to know all of you, his homeboys and homegirls. Eventually, I learned that Angel's mother had died when he was only five and that he never knew who his father was. He spent much of his life being passed unwanted from one relative to another until he was thirteen when you courted him into the Barrio Brothers and became his family. (looking at Violeta) One year later, he discovered that Violeta was his paternal grandmother. Angel loved each of you more than anything in the world. Under that tough exterior was a big guy with a kind heart. I will miss him very much. (pauses) As we mourn Angel's loss, we shouldn't ask ourselves who killed him, but rather what killed him. Angel died of a disease, a disease called gang banging.

There is a murmuring among the mourners.

FATHER JUAN: So how will we honor Angel's memory? We will honor him best by putting a stop to the killing.

There is further commotion. Romeo stands up, walks to the center aisle, stares Father Juan in the face, and turns around. He looks over at Tony and then walks out. Several other gang members follow him.

FATHER JUAN: If we knew Angel and loved him, we would stop killing each other.

At this, Tony gets up and walks out with his head down. Father Juan looks on with an palpable expression of disappointment.

INT. UNIVERSITY PARKING LOT

Lisa and Carlos walk through the university parking lot toward Lisa's car.

CARLOS: So where are we going now?

LISA: I'll drop you off at your dorm.

CARLOS: You know, I was hoping to see the rest of New York City. Maybe you can show me some of the sights.

LISA: Oh, I don't think you want to do that. New York is a pretty dull place. You'd just be wasting your time.

They reach the passenger side of Lisa's car.

CARLOS: That's funny. I've heard that New York is considered the closest thing your people have to a world capital.

Lisa opens the passenger side door.

LISA: Well, you heard wrong. Get in.

INT. LISA'S CAR

The driver's door opens and Lisa gets behind the wheel. After she closes the door, Carlos looks over at her.

CARLOS: Is something wrong?

LISA: Why do you ask?

CARLOS: I sense...hostility. Have I done something to offend you?

LISA: Let's just say I don't have a lot of affection for your kind.

CARLOS: Oh. If you feel that way, why did you agree to help me?

LISA: I'm only doing this as a favor to Professor Maitland. Believe me, I don't want to be here.

CARLOS: I know my people made some mistakes in the past, but things have changed. We want to live with you as friends.

LISA: It's hard for me to believe that when I look at you.

CARLOS: What do you mean?

LISA: Take your face, for instance.

Carlos starts feeling his face.

CARLOS: Is there something wrong with it? Doesn't it look human?

LISA: Oh, you look like a perfect male specimen. A model right out of GQ. But that's the problem. We all know it isn't real. You're trying to pass yourself off as something you're not.

CARLOS: We do it because our true appearance might be disturbing to you.

LISA: If we're ever going to live together as true friends, you're going to have to allow us to get used to seeing you as you really are. And another thing. It's not easy warming up to you guys when you walk around dressed like a bunch of jack-booted thugs.

CARLOS: I don't understand. Are you referring to my uniform?

LISA: That's right, Carlos. If you're going to live with humans, you need to start dressing like them.

CARLOS: I don't think I can do that. We've been told to avoid excessive fraternization with humans.

LISA: What the hell does that mean?!

CARLOS: It means we shouldn't try to associate too closely with you.

LISA: Why?

CARLOS: For security reasons. We don't want to make ourselves vulnerable to humans who might want to harm us.

LISA: (sarcastically) Oh, I can see the two of us are really going to hit it off!

Carlos senses he needs to make a goodwill gesture to Lisa.

CARLOS: I'm sorry. Maybe you're right. Will you help me find some new clothes?

Lisa looks at him for a second.

LISA: Why not. I'll introduce you to one of humanity's favorite recreational activities. It's called shopping.

EXT. EL BARRIO MISSION CHURCH/FRONT ENTRANCE

Father Juan follows a group of Barrio Brothers as they walk out the front entrance of the church carrying Angel's casket. They load the casket in the back of a hearse. Tony looks on from across the street. He crosses the street and approaches Father Juan.

TONY: Padre, I'm sorry for walking out on you back there.

FATHER JUAN: You walked out on Angel, too. I'm very disappointed, Tony.

TONY: I know. It was really hard for me to sit there and hear you say those things, knowing what we're going to do and all.

FATHER JUAN: You can still call it off before it's too late.

TONY: I wish it were the easy, father.

Tony turns and runs off before the priest can respond.

INT. MARIA'S CAMPUS APARTMENT/FRONT DOOR

Maria walks in through the front door and closes it behind her. She then walks over to the door to her bedroom and opens it.

INT. MARIA CAMPUS APARTMENT/MARIA'S BEDROOM

Maria walks into her bedroom and sees Carlos step out of his uniform, revealing his lean, muscular body. Wearing only a pair of speedo-type underwear, Carlos is both startled and embarrassed upon seeing Maria. He throws on a shirt.

CARLOS: I'm sorry. Lisa told me I could change clothes in here.

Maria immediately notes both the reverberation in his voice and his handsome features.

MARIA: Oh, you don't have to apologize to me. You must be the Visitor exchange student Lisa was telling me about.

Carlos struggles to put on a pair of jeans.

CARLOS: Yes, I am.

MARIA: Here. Let me help you with those.

Maria helps Carlos get dressed. Carlos almost seems to be blushing.

CARLOS: Thank you. I am new at this.

MARIA: Don't mention it. I'm Maria. Lisa and I are roommates. What's your name.

CARLOS: Uh, Carlos.

MARIA: Carlos? How did you get that name?

CARLOS: It understand it's common among Hispanic humans. You see, I'm going to be resettled in the area called... Spanish Harlem.

MARIA: The barrio. I know that neighborhood well. I grew up there.

Lisa appears at the door of Maria's bedroom.

LISA: You're home early. I hope you didn't catch Carlos with his pants down.

MARIA: I did actually, but from what I've seen, he has nothing to be ashamed about.

EXT. EL BARRIO NEIGHBORHOOD/ABANDONED PARKING LOT - NIGHT

Two armies of Barrio Brothers and Renegades slowly converge on each other in a dimly-lit parking lot. They stop when they are only a few yards apart. Romeo and Tony are at the head of the Barrio Brothers. On the other side stands ICE, the leader of the Renegades. Wizard is with him.

ROMEO: We're here to settle the score for our homie, Angel. You deny bangin' him?

ICE: We deny nothin'. Your homeboy came into our 'hood armed. That's an act of war.

ROMEO: Then let's get it on.

As both sides get ready to rumble, a car comes racing over to them. Alarmed, Romeo pulls out a handgun. The car stops a few feet away and Father Juan jumps out.

TONY: Padre, what are you doing here?! Have you lost your mind?!

FATHER JUAN: You should be asking yourselves that question.

Father Juan walks in between the two gangs.

FATHER JUAN: I'm not going to let you kill each other like this.

ROMEO: But they have to pay for what they did to Angel! Get out of the way, padre!

Romeo points his handgun in Father Juan's direction.

FATHER JUAN: You're going to have to shoot through me first!

Romeo cocks his gun. Tony grabs the gun.

TONY: What the hell are you doing, man?!

Suddenly, bright search lights sweep down on them. Everyone scatters except for Father Juan who watches as several Visitor shuttlecraft land several yards away from him. The hatch to one of the shuttles opens, and a Visitor engineer named SIMON emerges with a technician following behind him. Simon scans the area through a pair of electronic binoculars as a flood of technicians begin disembarking from the shuttles.

SIMON: Already, I can see we're not going to have a lot to work with. Now, I understand why the humans selected this place for us.

TECHNICIAN: Do we actually have to survey the entire area? I doubt we're going to find anything worth salvaging.

Simon puts down the binoculars.

SIMON: I agree, but our orders are to examine every structure. If I had my way, we'd just level everything to the ground and start from scratch.

Simon sees Father Juan approach them.

SIMON: Who are you?

FATHER JUAN: Father Juan Vidal, the pastor of one of the local churches. Who are you?

SIMON: I'm Simon, the commanding officer of this engineering unit. We've been ordered to survey the area before groundbreaking begins.

FATHER JUAN: Groundbreaking? I don't understand.

SIMON: This entire area has been designated a Visitor redevelopment zone. We're going to be building our first settlement here.

Father Juan looks stunned by the announcement.

INT. VISITORS' MANHATTAN HEADQUARTERS/LOBBY

A group of distinguished guests have assembled in the lobby of the Visitors' new headquarters. Among them is Elaine and Chris Johnson. Their attention is focused on Jessica who stands over a large table which is covered by a white sheet. Angela and Phillip are nearby.

JESSICA: I want to thank all of you for coming here this evening to help celebrate the opening of our beautiful new headquarters which our friends in New York have been so generous in providing for us. From this location, we will begin to coordinate the long process of resettling our people. Our engineers and planners have already devised an ambitious plan of redevelopment which will change the face of one of the most neglected areas of your city. Within three years, this is what you will see.

Angela and Phillip help Jessica remove the sheet, revealing a massive model of the proposed Visitor settlement. Its towering skyscrapers, glittering spires, and intricate causeways draw enthusiastic applause from the guests.

ELAINE: (to Chris) Amazing! This will be the greatest example of urban renewal in American history, and it's not going to cost the taxpayers a cent!

Chris is less impressed.

CHRIS: But look at the size of it. What will happen to the residents who already live in the barrio?

ELAINE: They'll have to be relocated.

CHRIS: Relocated? You're talking about displacing over a hundred thousand people.

ELAINE: Chris, my dear, don't get yourself all worked up. Arrangements will be made for them.

CHRIS: Somehow I don't think they'll find that very reassuring.

Phillip walks over with Angela.

PHILLIP: Chris and Elaine, I want you to meet Angela, our chief of security and my immediate superior. Angela, this is Chief Christopher Johnson of the New York Police Department and Elaine Johnson, the mayor's press secretary.

Elaine shakes Angela's hand.

ANGELA: So, Ms. Johnson, what do you think of the redevelopment project?

ELAINE: Oh, I'm very impressed. I've never seen anything like it.

CHRIS: (coolly) Yeah. It's something all right.

ANGELA: (to Chris) I detect a note of what you humans call sarcasm. Doesn't the project meet with your approval?

CHRIS: To be honest, I'm concerned about the thousands of people who are going to be thrown out of their homes in order to make room for your new colony. What ever happened to all of the talk about living together?

Elaine attempts to diffuse the confrontational tone of Chris' question.

ELAINE: You'll have to excuse him. I think what he's trying to say--

ANGELA: We're not insensitive to your concerns, Chief Johnson, but you have to understand that the integration of our peoples will be a gradual process. We're going to need time to grow accustomed to one another. More importantly, there remain a number of potential security threats.

CHRIS: Security threats?

ANGELA: Our people have become very concerned about their safety since the assassinations of our Leader and supreme commander, the attack on the peace parade, and the coup attempt led by your Vice-President. Surely, you can appreciate our situation.

ELAINE: Oh, we do. I assure you we understand completely.

INT. RED DRAGON RESTAURANT/PRIVATE DINING ROOM

Alex Hale, Ham Tyler, Julie Parrish, Paul Maitland, Derrick Sullivan, and the Vice-President sit around a table.

HAM: All right, people. The situation is getting worse by the day. The lizards are coming down in greater numbers, and unless we can come up with a plan to stop them, New York as we know it will soon be history.

VICE-PRESIDENT: We have to focus on recovering the President from the Visitors. From what Mr. Hale told us, he's obviously an important part of their plans.

JULIE: I agree, and we should consider the possibility that he's been subjected to the new conversion process I told all of you about.

ALEX: She might be on to something. If we can prove to the world that the President has been converted, then the Visitors would be exposed.

VICE-PRESIDENT: And everyone would see the peace agreement for the sham that it is.

PAUL: That's all well and good, but how do you propose getting him off the Mothership? Even assuming that one of us managed to sneak back onboard, we wouldn't know where to begin looking for him.

HAM: Julie's been inside a Mothership several times and even studied one of them. (to Julie) You got any ideas where they might be keeping him?

JULIE: The Mothership is huge. He could be held in any number of places. It'd be like looking for a needle in a haystack.

ALEX: We obviously need a contact on the inside.

JULIE: But how would we find one?

DERRICK: Hey, professor, maybe that exchange student of yours could help us.

PAUL: Somehow I doubt he'd be very cooperative.

HAM: We don't need his cooperation. There are plenty of ways to get him to talk.

ALEX: Actually, I had something else in mind. I've heard that the Visitors are looking for humans to fill low-level clerical positions at their new headquarters. That might provide us with the perfect opportunity to send in someone to snoop around.

JULIE: Who do you have in mind? They're not going to just pick anyone walking off the street.

ALEX: Leave that to me.

INT. MARIA'S CAMPUS APARTMENT/DINING AREA

Brad and Carlos sit across from each other at the dining room table as Maria and Lisa come out of the kitchen with plates of food in their hands.

MARIA: Lisa and I gave a lot of thought to the dinner menu tonight since humans and Visitors don't exactly share the same tastes. I think we were able to come up with a pretty good compromise.

Maria places down two plates, one at a time.

MARIA: We have sushi and... raw oysters on the half shell.

BRAD: Yum.

Lisa then places down two other plates full of fruits and vegetables.

LISA: And we also have two plates of fresh fruits and vegetables, all uncooked of course. So just go ahead and help yourselves.

Lisa and Maria take their seats. Uncertain, Carlos looks on as everyone starts filling their plates. Maria picks up an oyster and hands it to Carlos.

MARIA: Here, Carlos. Try an oyster.

Carlos takes the oyster half shell and looks at it with puzzlement.

CARLOS: Oy-ster. I've never seen one before. The shells are edible?

LISA: You don't eat the shell, silly.

BRAD: Just the pink stuff inside. Let me show you.

Brad takes an oyster off the plate.

BRAD: Hold the shell up to your mouth and slurp it down in one gulp. Like this.

Brad noisily sucks the oyster into his mouth, swallows, and smacks his lips.

BRAD: Mm-Mm. Nothing quite like it. Now you try.

Carlos imitates Brad perfectly, sucking noises and all.

LISA: (to Brad) He's already learning your bad table manners.

Carlos sits quietly with his mouth full, unsure what to make of the taste.

MARIA: So what do you think?

Carlos swallows.

CARLOS: Unusual. It's a taste I might learn to like.

LISA: I'm glad to hear it.

Everyone starts eating. Brad looks over to Carlos.

BRAD: So, Carlos, what do you think of your stay in New York so far?

CARLOS: It's been very... interesting. Your cities are very different from ours.

LISA: In what way?

CARLOS: Well, when we build a city, everything is planned in advance, but I don't see any kind of planning in New York.

LISA: That's because there isn't any. It started as a Dutch colony over 350 years ago and has been growing little by little ever since.

CARLOS: But that's so inefficient, and it leads to all sorts of social problems. For instance, take the areas you call slums and ghettos. Our leader would never permit those to exist.

LISA: But we live in a society that values freedom and the rights of the individual. We don't have a leader who tells us where to live and what to do.

CARLOS: Maybe you should. My people used to be backwards and superstitious, but our Leader made us advanced and powerful.

LISA: Well, if your Leader was so wonderful, how come you're having to move to a new planet.

CARLOS: Because we have an enemy called the Alliance which seeks to destroy us.

MARIA: Why do they want to destroy you?

CARLOS: They hate alien races. Our exploration of other worlds was a threat to them. Their agents planted a powerful antimatter device on my homeworld. When it exploded, the planet's orbit shifted and everything was laid waste.

BRAD: They sound pretty mean.

CARLOS: They are. Without our protection, the earth could suffer the same fate.

INT. ALEX HALE'S DETECTIVE AGENCY/RECEPTION AREA

Lois Bergman is busy putting files in a filing cabinet when Alex Hale walks in.

LOIS: Morning boss.

HALE: Hello, Lois. Would you mind stepping into my office for a minute?

Alex walks past her.

LOIS: I'm right behind you.

Lois puts down the files on top of the cabinet and follows Alex into his office.

INT. ALEX HALE'S OFFICE

Lois closes the door behind her as Alex sits down behind his desk.

LOIS: So what's up, Alex?

ALEX: I'm sorry, Lois, but I'm going to have to let you go.

LOIS: What?

ALEX: You're going to need to find another job.

LOIS: What the hell are you talking about?! We've been together almost 15 years! I know I'm not some sexy, blonde bimbo, but I've been a damn good secretary!

ALEX: You're the best. I've got other reasons.

LOIS: Would you care to share them with me?!

ALEX: Let's just say there are some really good openings over at Visitor headquarters that would be perfect for you.

LOIS: Why on earth would I want to work there?!

ALEX: Because I need someone on the inside to be my eyes and ears.

LOIS: You want me to go undercover? I'm assuming this isn't for a client.

ALEX: Not this time.

LOIS: The good ole resistance days are coming back to me. What makes you so sure I can land a job over there?

ALEX: Connections, my dear, connections. So what do you say? I know it could be dangerous. So if you decline, I'd understand.

LOIS: Of course, my answer is yes. I only wish you'd just come out and ask me instead of trying to be cute. You almost gave me a heart attack.

ALEX: It's just my way of showing affection.

INT. MARIA'S CAMPUS APARTMENT/MARIA'S BEDROOM

Carlos is sitting absolutely still on Maria's bed with his hands in his lap.

CARLOS: How much longer do I have to sit like this?

MARIA (off-screen):Just be patient. I'm almost done.

The camera pans back to reveal Maria sitting behind an easel painting Carlos' portrait.

MARIA: There. It's finished.

CARLOS: Can I see it?

MARIA: Sure. Come on over and take a look.

Carlos gets up and walks over to see his portrait.

MARIA: So what do you think?

CARLOS: You're very good! It looks just like me!

Carlos reaches to touch the canvass, but Maria stops him.

MARIA: Don't touch it yet! It needs some time to dry.

CARLOS: I've never seen anything like that. Can I have it when it dries?

MARIA: Of course. Don't your people have artists?

CARLOS: Artists?

MARIA: Yes. People who paint, draw, or compose music for others to enjoy and appreciate.

CARLOS: There are those among us who do things like that, but I don't think you would call them artists.

MARIA: Why not?

CARLOS: Because they don't do it just so others may enjoy it. They do it to serve the Leader, because it's their function.

MARIA: I see.

CARLOS: How did you learn to do this?

MARIA: I've been painting since I was a little girl. My teachers always said I was really good at it. (pauses) I also worked under another great artist for awhile. He taught me a lot.

Lisa comes into the bedroom.

LISA: What's going on in here?

CARLOS: Maria painted my picture.

LISA: So she tricked you into posing for her, did she?

Lisa walks over and looks at the painting.

LISA: That's pretty good.

CARLOS: I think it's very good.

LISA: Well, I was thinking we should go out tomorrow and tour the city. I know you wanted to see the sights.

CARLOS: I'd like that.

MARIA: Can I come along?

LISA: Sure. The more the merrier.

MARIA: Maybe we can drive through the barrio. I can show Carlos around his future home.

LISA: It's already on my list.

INT. VISITOR HEADQUARTERS/PHILLIP'S OFFICE

Phillip invites Lois into his office and closes the door.

PHILLIP: Please have a seat.

Lois sits down as Phillip walks over to his desk and picks up a file. He sits down and opens the file.

PHILLIP: I must say that you come here with some impressive references, Ms. Bergman.

LOIS: Thank you.

PHILLIP: I even got a letter of recommendation from Elaine Johnson over at the Mayor's office... which leads me to wonder why you want to work here. We're offering mostly low level clerical and secretarial positions for which you're obviously over qualified.

LOIS: Frankly, I'm looking for something new and different, and working at Visitor headquarters would certainly fit the bill. May I ask you a question?

PHILLIP: Certainly.

LOIS: Why are you hiring humans?

PHILLIP: I'm glad you asked. The process of resettlement is going to bring us into contact with many humans on a daily basis. We find that those interactions are much easier when we have other humans working on our behalf.

LOIS: I guess that makes sense.

PHILLIP: You know, I think I might actually have a job for a person of your talents.

LOIS: Great. What do you have in mind?

PHILLIP: How would you like to work for me?

LOIS: For you?

PHILLIP: That's right.

Lois thinks for a second.

LOIS: Well, you seem like a pretty nice fellow. I'd be glad to.

PHILLIP: Welcome aboard.

EXT. EL BARRIO NEIGHBORHOOD

Lisa Kennedy's car drives through a neighborhood in Spanish Harlem. The streets are full of Visitor engineers and technicians.

INT. LISA'S CAR

Lisa drives while Carlos sits in the front passenger seat and Maria sits in back. They stare out of the windows as a white jeep full of Visitor technicians drives past them.

MARIA: What's going on here?

LISA: Your old neighborhood is crawling with Visitors.

MARIA: I can see that. Why are there so many? And what are they doing?

They look over at Carlos.

CARLOS: I'm not sure. It must have something to do with our resettlement.

MARIA: Let's stop by and see my mom.

EXT. MARIA'S MOTHER'S APARTMENT

Lisa's car pulls up to the curb in front of the apartment building where Maria's mother lives. Lisa, Maria, and Carlos walk up the stairs to the front entrance. They notice a sign affixed to the front of the building.

INSERT - SIGN

which states: "Notice: This building has been condemned by order of the Visitor Redevelopment Authority."

BACK TO SCENE

MARIA: Condemned! How can they do this?

LISA: I don't know.

MARIA: Come on.

They walk in through the front door. Carlos follows behind them.

INT. MARIA'S MOTHER'S APARTMENT/FRONT DOOR

There is a knock at the door. Wearing only shorts and a t-shirt, LORENZO PEREZ, Maria's stepfather, walks over to the door, turns several locks, and opens it. He appears surprised to see Maria and her companions.

MARIA: Hello, Lorenzo.

LORENZO: Maria, this is a surprise. Come in.

Maria, Lisa, and Carlos walk inside. Lorenzo closes the door behind them. ANA PEREZ, Maria's mother, walks into the room.

ANA: And how is my little girl?

Ana walks over to Maria and gives her a hug.

MARIA: She's not so little anymore.

Ana looks over at Lisa and Carlos.

ANA: I see you brought some friends. I already know Lisa. How are you doing, Lisa? I haven't seen you in awhile.

LISA: I'm doing all right, Mrs. Perez. It's good to see you again.

ANA: (looking over at Carlos) And who is this good-looking young man? A new boyfriend maybe?

MARIA: This is Carlos. Carlos, this is my mother, Ana, and my stepdad, Lorenzo.

Ana smiles as she shakes Carlos' hand.

CARLOS: I'm pleased to meet you, Mrs. Perez.

Ana's smile quickly disappears when she hears the reverberation in Carlos' voice. Carlos lets go of her hand.

LORENZO: He's a Visitor.

MARIA: Yes... Carlos is an exchange student over at the university. Lisa and I were giving him a tour of the city.

ANA: Why didn't you tell us you were coming over?

MARIA: Well, we weren't planning to visit at first, but then we saw all those Visitors walking around. What's with that sign in the front?

LORENZO: Some Visitors came by today and put it up after they looked everything over. They walked around here like they owned the place.

ANA: Yeah. I felt like a stranger in my own home.

MARIA: Why are they are doing this?

LORENZO: All they would tell me was that it was part of their new redevelopment plan. They said they're going to rebuild this entire area.

MARIA: But what's going to happen to you guys?

LORENZO: We don't know. Your mother has been trying to find that out.

ANA: The city won't tell me anything other than that arrangements are being made for us.

LORENZO: (looking over at Carlos) Does your friend know what's going on?

CARLOS: I'm afraid I don't. I'm sorry.

ANA: Well, we're not going to just sit by and let them evict us. (looking over at Carlos) It may not look like much, but this is the only home we have.

MARIA: What are you going to do?

ANA: Father Juan is helping us to organize the entire neighborhood. If necessary, we'll take to the streets and bring everything to a halt until they listen to us.

LISA: Good for you.

ANA: Hey, why don't all of you stay over for dinner. Lorenzo and I would enjoy your company.

MARIA: Where's Tony?

Ana looks over at Lorenzo.

LORENZO: I threw that bum out a long time ago. His name is not to mentioned around here anymore.

Ana tries to change the subject.

ANA: I'm making your favorite paella, tonight. I can set some extra plates. What'd you say?

Maria looks over at Lisa.

LISA: That sounds really good. (she looks over at Carlos) Although I'm not sure a Visitor can eat fried rice and shellfish.

LORENZO: Well, there's no shortage of rats around here. He can help himself.

Maria gives Lorenzo a dirty look.

LORENZO: Sorry.

INT. ALEX HALE'S OFFICE

Alex and Ham are sitting in Alex's office when Lois walks in.

LOIS: I'm back.

ALEX: So how'd the interview go?

LOIS: (nonchalantly) Pretty good.

HAM: (impatiently) How about being a little more specific?

LOIS: Don't get yourself into a snit, Tyler. It just so happens that I landed a job with a Visitor named Phillip who just happens to be the deputy chief of security on the Mothership.

ALEX: You're kidding me.

LOIS: Scouts honor. The two of us really hit it off. He wants me to start working right away.

ALEX: Good girl! This is more than we could've hoped for!

HAM: Let's not break out the champagne and toast ourselves just yet.

LOIS: Why do you always have to throw cold water on everything?

HAM: Because we still have to figure out how to bag your new boss and get him to talk.

EXT. EL BARRIO NEIGHBORHOOD

A huge crowd of barrio residents walks down the street, chanting, blowing whistles, and carrying signs to protest their imminent removal.

CROWD: Hell no! We won't go! Hell no! We won't go!

Leading the marchers is Father Juan Vidal. Lorenzo and Ana Perez and Violeta Mendoza are with him. Up ahead, a column of armored personnel carriers and trucks mounted with water cannons comes around the corner and advances toward them. The column comes to a stop several yards away, and guardsmen exit from their vehicles and form a line. The line opens to allow a white jeep to drive through. The jeep stops and Simon gets outs. Father Juan motions for the marcher to stop.

FATHER JUAN: Please stop everyone! Let's hear what they have to say!

Father Juan steps out in front of the crowd as Simon approaches him.

SIMON: So what's all of this about? Why are these people trying to disrupt our work?

FATHER JUAN: They don't want to lose their homes.

SIMON: That's not my concern. Everything we're doing has been authorized by your city's government. You should take your complaints to them.

FATHER JUAN: We've already tried that. This is the only way we have left to make them listen to us.

SIMON: This entire gathering is unlawful and will not be permitted to continue. You need to tell these people to disperse. I don't want any unfortunate confrontations.

The marchers start to boo and hiss.

FATHER JUAN: I'm sorry, but I can't do that. We will resist this injustice using every means of civil disobedience available to us.

The marchers cheer.

SIMON: (angrily) Very well. I warned you.

Simon marches off and gets back in the jeep which turns around and heads back toward the line of guardsmen. The jeep stops and Simon speaks to one of the guardsmen.

SIMON: The negotiations were unsuccessful. Do whatever is necessary to clear the area.

The jeep drives off. Father Juan returns to the marchers.

ANA: What happens now, father?

FATHER JUAN: We need to be strong and have faith.

A guardsman calls out to them through a megaphone.

GUARDSMAN: Attention. You are ordered to clear the street and return to your homes. We will use force to disperse you if necessary.

Father Juan leads the marchers forward as they sing "We Shall Overcome."

GUARDSMAN: This is your last warning. Leave the area immediately.

As the marchers continue to advance, the guardsmen open fire with tear gas and water cannons. Everyone starts screaming and running for cover as the personnel carriers and water cannon trucks roll down the street. Gasping for breath and soaking wet, Violeta falls to the ground as a personnel carrier comes up from behind her. The driver does not see the old woman lying in the street. Anna looks on in horror.

ANA: Violeta!

Violeta turns to see the personnel carrier just before it runs over her. Ana lets out a terrible scream. Father Juan and Lorenzo appear and pull Ana, who sobs uncontrollably, to safety.

INT. CITY HALL/MAYOR'S OFFICE/RECEPTION AREA

Chris Johnson storms into the reception area of the mayor's office and walks over to the mayor's secretary.

MAYOR'S SECRETARY: Hello, Chief Johnson. Can I help you?

CHRIS: I want to see the mayor.

MAYOR'S SECRETARY: Well, he's in a meeting right now, but if you'll wait...

CHRIS: This can't wait. I have to see him right now.

Chris goes over to the door to the mayor's office and opens it.

INT. CITY HALL/MAYOR'S OFFICE

The mayor is sitting at his desk talking with Elaine Johnson and Phillip. He is surprised to see Chris walk in.

MAYOR: Chris...is something wrong?

CHRIS: Damn right, something's wrong! I want to know why troops were sent into the barrio to crack down on a bunch unarmed marchers!

MAYOR: The Visitors requested assistance because those marchers were disrupting the resettlement process.

CHRIS: That doesn't justify killing an old woman!

MAYOR: Of course it doesn't. That was a terrible accident. I was just discussing it with Elaine and Phillip.

CHRIS: Why wasn't the department consulted about any of this? We're better trained and equipped to handle those types of situations.

MAYOR: The Visitors didn't want the police department involved.

Chris stares at Phillip.

CHRIS: So you just shopped around until you could find someone to do your dirty work for you. Well, I won't stand for it.

Chris storms out of the office and slams the door behind him.

PHILLIP: I better go talk to him. Would you excuse me for a moment?

MAYOR: Certainly.

INT. CITY HALL/CORRIDOR

Phillip chases after Chris.

PHILLIP: Chris, I can explain.

Phillip grabs Chris' shoulder. Chris turns and gives him a cold stare.

CHRIS: I don't give a damn about your explanations. Your actions speak louder than words.

PHILLIP: Listen, you idiot, would you just shut up for one minute and listen to me?!

Chris is startled by Phillip's tone.

CHRIS: All right. You got one minute.

PHILLIP: We need to talk in private. Let's go in here.

Phillip and Chris walk through a door to a conference room.

INT. CITY HALL/CONFERENCE ROOM

Phillip closes the door behind him.

PHILLIP: I opposed the idea of sending in troops to break up the march, but Angela overruled me.

CHRIS: That doesn't explain why the police were never consulted.

PHILLIP: The police weren't consulted because Angela doesn't trust you. She thinks you harbor some kind of hostility toward us. You need to watch yourself around her.

CHRIS: Why are you telling me all of this?

PHILLIP: Because I'm on your side.

CHRIS: You keep saying that. What the hell does that mean? You're a part of the Visitor security apparatus.

PHILLIP: I'm also a member of the Fifth Column.

INT. MARIA'S CAMPUS APARTMENT/LIVING ROOM

Carlos is watching television when the door opens and Brad and Lisa walk in.

LISA: (to Carlos) I see you're becoming a couch potato.

Carlos gives her a confused look.

CARLOS: I thought I understood the English language, but you humans keep using words I've never heard before. What is a couch potato? Is that some kind of vegetable?

LISA: Sort of. I'll explain it to you later. Where's Maria?

CARLOS: She's in her bedroom talking on the telephone.

The door to Maria's bedroom opens, and Maria walks out, looking distraught.

LISA: (to Maria) What's wrong?

MARIA: Lorenzo just called. He said soldiers were sent in to break up the march through the barrio. Mrs. Mendoza, an old woman who goes to my mom's church, was killed.

LISA: Oh, no!

MARIA: They had to give my mom tranquilizers because she's hysterical and can't stop crying.

LISA: So this is what it's all coming down to! (turning to Carlos) People are being kicked out of their homes and old women are being killed just so you can have a place to live! How does that make you feel?!

CARLOS: There must be some kind of mistake. We don't want to take away people's homes or kill anybody. My people want peace.

LISA: When are you going to stop swallowing that propaganda they've been feeding you?! You and your people have been doing the same thing since the first day you arrived: Taking what doesn't belong to you!

MARIA: You're not being fair, Lisa! Carlos didn't have anything to with this!

LISA: Come on, Maria. He's just another Visitor stooge doing his Leader's bidding.

CARLOS: I think I should leave.

Carlos gets up.

MARIA: No, Carlos. Wait.

LISA: Let him go.

Carlos leaves.

MARIA: You know, Lisa! You can be a real bitch sometimes!

LISA: Why are you sticking up for him?

BRAD: (dramatically) Cuz she's in love!

LISA: Cut it out, Brad. Don't be silly.

BRAD: I'm telling you. She's fallen for him.

LISA: (to Maria) Please tell me Brad is full of hot air.

Maria hesitates.

MARIA: Well, I can't deny that he intrigues me or that there's something about him I find kind of attractive.

LISA: (exasperated) Maria, there's a reptile behind that pretty boy face!

MARIA: I know, but sometimes I forget that when I'm around him.

BRAD: Then ask him for a french kiss. Maybe he'll throw in some extra tongue.

Brad flicks his tongue in and out at Maria. Lisa laughs.

MARIA: (enraged) Shut up, you pig! I don't have to put up with this!

Maria grabs her jacket and heads for the door.

LISA: Where are you going?

MARIA: To find some better company!

INT. CITY HALL/MAYOR'S OFFICE/RECEPTION AREA

Phillip walks back toward the mayor's office when the mayor's secretary stops him.

MAYOR'S SECRETARY: Phillip, there's a call for you. The caller won't identify herself, but she said it's urgent. I have her on hold.

PHILLIP: Let me talk to her.

She hands Phillip the phone.

PHILLIP: Hello.

INT. VISITOR HEADQUARTERS/PHILLIP'S OFFICE

Lois Bergman is on the phone in Phillip's office.

LOIS: Phil, this is Lois. Listen to me carefully. Angela ordered me to find you and tell you to get back to headquarters ASAP. I don't know what it's about, but it sounds important. Just drop whatever you're doing and hightail it back here. A driver has already been sent to pick you up. Oh, and she also said not to breathe a word of this to anyone. It's all very hush-hush.

INT. CITY HALL/MAYOR'S OFFICE/RECEPTION AREA

Phillip has a look of irritation on his face.

PHILLIP: All right. I'm on my way.

EXT. CITY HALL

A white limousine is parked in front of city hall. A driver wearing a red uniform and dark glasses stands at the rear passenger door. Phillip comes out of city hall and walks down toward the car. The driver opens the door, nods deferentially as Phillip gets in, and then closes the door behind him. The driver then goes around to the other side, gets into the car, and drives off.

INT. LIMOUSINE

Phillip looks on as the limousine drives down a street. Suddenly, a man jumps out into the street ahead of them and starts waving his arms. The limo stops, and the man runs up to Phillip's window. It is Ham Tyler. Ham opens the door and jumps in.

PHILLIP: What do you think you're doing?! Who are you?!

HAM: Just a man who needs a lift.

PHILLIP: I know New Yorkers have a reputation for rudeness, but this is ridiculous! Driver! Get this man out of here!

The window separating the passenger and driver compartments rolls down. The driver turns around. It is Alex Hale.

ALEX: I think you better give him a ride.

Ham takes out a gun and holds it to Phillip's chest.

HAM: I insist.

A line of cars has started to form behind the limousine. The impatient drivers begin honking their horns.

HAM: (to Alex) Let's go.

The limousine starts moving again.

PHILLIP: This ruse is rather elaborate. You obviously went to a great deal of trouble to abduct me. What do you want?

HAM: We know the President of the United States is on the Mothership. You're going to give me the exact location where he is being held.

PHILLIP: I congratulate you on your intelligence. What happens if I refuse to help you?

HAM: I don't care if you want to help or not. I'll get the information out of you either way.

PHILLIP: And if I cooperate?

HAM: You don't want to know.

PHILLIP: I don't think you've thought this through. Even if you can manage to infiltrate the Mothership without being detected, there's no way you'll be able to just walk off with the President. However, I can help you in ways you haven't considered.

HAM: (skeptically) Really?

ALEX: Let's hear what he has to say.

PHILLIP: I can arrange it so that you can get onboard the Mothership, take custody of the President, and leave without anyone knowing about it until you're safely away.

HAM: And who said pennies don't fall from heaven?

PHILLIP: I take that to mean you don't believe me.

HAM: Look, I wasn't born yesterday, snake-eyes. You're the deputy chief of security. There's no reason for you to help us voluntarily.

PHILLIP: Actually, there is. (pauses) It just so happens that I'm a member of the Fifth Column.

Ham raises an eyebrow.

HAM: How many of you are there?

PHILLIP: I'm not sure. After the Leader's assassination, every suspected Fifth Column member was arrested. It was then that I learned the Leader's secret police had infiltrated the Fifth Column. I don't know who to trust anymore.

HAM: (suspiciously) Why weren't you arrested with the rest of them?

PHILLIP: Given the sensitive nature of my position, my loyalty to the Fifth Column was kept a closely guarded secret. I had only one contact inside the Column. When the arrests began, he committed suicide so I wouldn't be exposed.

HAM: That's a very nice story. It doesn't require a shred of proof.

PHILLIP: But it is the truth, and I know someone who can verify it, a human whose word you can trust.

HAM: All right. We'll check out your story. But if I find out you're jerking me around, I'm going to turn you into lizard bait.

INT. EL BARRIO MISSION CHURCH/RECTORY/FATHER JUAN'S OFFICE

Father Juan sits quietly behind his desk. The window blinds are closed and music plays softly in the background. There is a knock at the door. Father Juan does not respond. The door cracks open, and Tony pops his head in.

TONY: Padre, are you okay?

FATHER JUAN: I'm not sure.

TONY: All the homeboys heard about what happened. We wanted to come and talk to you.

FATHER JUAN: I'm not very good company right now. Maybe we should talk some other time.

TONY: I know you're sad about Angel's grandmother. I am too. That's why I brought someone with me.

The door opens further to reveal Wizard who is standing next to Tony.

WIZARD: Hello, father.

Father Juan looks up.

FATHER JUAN: (surprised) Wizard.

WIZARD: We were hoping you would come over to the church. There's something we want to show you. It's important.

FATHER JUAN: All right.

INT. EL BARRIO MISSION CHURCH

Father Juan follows Tony in through the front door of the church which is filled with members from every gang in the barrio. When they see the priest walk down the center aisle, they all stand and face him. As Father Juan approaches the sanctuary, Romeo and Ice walk over to meet him.

ROMEO: Father, the Barrio Brothers and the Renegades have declared a truce to honor Angel's grandmother, and all of the other gangs in the barrio have joined us. This is our home, and we should be fighting to protect it instead of fighting each other.

Father Juan is visibly moved by their gesture.

FATHER JUAN: You've made me very proud today.

INT. ONE POLICE PLAZA/CHRIS' OFFICE

Chris is sitting behind his desk when the door opens and Phillip steps in with Ham and Alex.

CHRIS: So what can I do for you?

PHILLIP: I brought some people to talk to you. They wouldn't give me their names, but I suspect they may be with the resistance.

HAM: (to Phillip) This is the guy who's going to back up your story? He's a cop.

CHRIS: What's this about?

PHILLIP: I've been trying to convince these two gentlemen that I'm a member of the Fifth Column before they... (looking over at Ham) turn me into lizard bait. I was hoping they might believe me if they heard it from your own lips.

Chris is silent for a moment.

CHRIS:(to Alex and Ham) He's all right. You can trust him.

HAM:(to Chris) Why should we trust you?

CHRIS: Because you're still standing here.

Chris lifts a shotgun up and places it on the desk.

CHRIS: Had I pulled the trigger, it would have blasted a hole through the front of my desk and cut you in two.

HAM: You supposed to be Dirty Harry or something?

CHRIS: I've learned to be prepared for anything in my line of work. Have seat.

The three of them sit down.

CHRIS: So are you guys with the resistance?

ALEX: Maybe. How about you?

CHRIS: Well, I never went around planting bombs or anything like that, but many of us in the police department were resistance sympathizers. We tried to help in whatever way we could even if that meant just looking the other way.

ALEX: The resistance needs your help again. We're developing a plan to rescue the President from the Mothership.

CHRIS: The President... of the United States?

PHILLIP: Yes. He was brought onboard shortly after the fighting in Washington.

CHRIS: Why?

PHILLIP: The United Nations Security Council is scheduled to meet in the next few days. The President is going to appear and announce his support for the new provisional government.

ALEX: We suspect that the Visitors may have used some new kind of conversion process on him. (to Joseph) Would you know anything about that?

PHILLIP: I'm not sure I know what you're talking about.

HAM: It was almost used on one of our people. She said it involved implanting a device through the back of the neck.

PHILLIP: I have heard of such a device. It's been used to condition the Leader's Shadow Guard.

ALEX: The Shadow Guard? What's that?

PHILLIP: A large personal army created by the Leader to curb our military's influence. The device you mentioned was designed to make the Shadow Guard fearless, savage, and totally obedient. However, I've never heard of it being used on humans until now.

HAM: If one of those things has been used on the President, then we have to make sure the whole world knows about it. (to Chris) So what do you say? Are you with us?

Chris thinks for a moment.

CHRIS: All right. I'm in.

PHILLIP: As am I, but knowledge of my involvement cannot leave this room. I've already put myself at considerable risk as it is.

ALEX: Don't worry. Your secret is safe with us.

EXT. ST. LUKE'S GARDENS - NIGHT

Maria and Carlos walk through the labyrinthine St. Luke's Gardens.

CARLOS: Maria, this is like a maze. Aren't you afraid we'll get lost?

MARIA: Don't worry. I've been here a million times. I know this place like the back of my hand.

CARLOS: But should we be walking out here after curfew?

MARIA: Lighten up, Carlos. I got to teach you how to be a little more spontaneous.

They come to a bench.

MARIA: This looks like a good spot.

She sits down and looks over at Carlos. She signals him to sit next to her by patting the bench. He walks over and sits down. Maria looks up into the night sky.

MARIA: You know, I've never been out here at night. You can actually see the stars.

Carlos looks up.

CARLOS: I even see my old home.

MARIA: Where?

Carlos points into the sky.

CARLOS: Over there in the constellation you call Canis Major. It's the brightest star in the sky.

MARIA: It's still so hard to believe that you come from a little speck of light so far away. It must be exciting to travel to other stars.

CARLOS: I wish it were. Unfortunately, we've found much of the universe to be hostile and dangerous. Many of my people have died fighting on alien worlds far from home. Your planet was the first to offer us friendship.

MARIA: I want to apologize for what Lisa said to you today. She was way out of line.

CARLOS: She really doesn't like me, does she?

MARIA: You shouldn't take it personally. Lisa had a brother who was killed fighting in the resistance.

CARLOS: I didn't know that.

MARIA: She doesn't talk about it much. I don't think she's ever really come to terms with it.

CARLOS: I know you and Lisa are good friends. I don't want to come between the two of you.

MARIA: Don't worry about that. Our friendship has survived a lot worse.

CARLOS: The two of you do seem to argue a lot.

MARIA: That's because we aren't afraid to tell each other how we really feel. I've learned a lot fighting with Lisa. She's one of the smartest people I know, and she's almost always right about everything.

CARLOS: How do you know she's not right about me?

MARIA: Because she's judging you based on some ugly stereotype. You aren't anything like that.

CARLOS: I'm glad I met you, Maria.

Carlos moves his hand closer to Maria's. Maria moves to take it. However, Carlos suddenly stops and places his hand back in his lap. A moment of awkward silence follows.

MARIA: Maybe we should go. I don't want Lisa to get worried.

CARLOS: Yes. I think you're right.

INT. CHINATOWN TENEMENT/VICE-PRESIDENT'S ROOM

Ham, Alex, Julie, Paul, Derrick, and the Vice-President have assembled to discuss the final plan to rescue the President from the Mothership.

HAM: All right. The plan is very simple. Hale and I infiltrate Visitor headquarters where the two of us catch the shuttle up to the Mothership, recover the President, and come back down on the next shuttle flight.

ALEX: Kid, you got to be ready to meet us the moment we touch down. It won't take them very long to discover the President is missing.

DERRICK: I'll be ready.

HAM:(to Derrick) Are you sure you can get inside Visitor headquarters?

PAUL: Don't worry. I've taken care of that.

HAM: All right. Then we'll all meet back here. Julie will examine the President to see if the lizards have messed with him.

JULIE: And if they have, we'll take him over to the Medical Center where we can run further tests.

HAM: Then we'll decide how to break the news to the rest of the world.

VICE-PRESIDENT: Your plan sounds perfect on paper, but it all depends on that secret contact of yours coming through. Do you think it's wise putting so many eggs in one basket?

HAM: I share your concern, sir, but this is the only plan we've been able to come up with that has even a decent chance of succeeding. If we want to get the President back, this is the only way we can do it.

VICE-PRESIDENT: All right, Mr. Tyler. I won't attempt to second-guess you. You're certainly more knowledgeable about these matters than I am. You go with my blessing.

HAM: Thank you, sir. We won't let you down.

INT. LOIS BERGMAN'S CAR - MORNING

Lois is driving to Visitor headquarters. Alex sits next to her in the front passenger seat. Ham sits in the back. From outside the front window, they can see the opening of an underground garage as the car pulls up to the building. The car stops just short of a booth and crossing gate. A Visitor named ADAM comes out of the booth and walk up to Lois. Lois rolls down her window.

ADAM: Good morning, Ms. Bergman.

LOIS: Hello, Adam. How's my favorite Visitor doing?

Ham coughs. Alex shoots him a dirty look.

ADAM: I can't complain. (looking in through the window) Who do you have with you?

LOIS: Just a couple of friends who needed a ride. They're attending the symposium sponsored by the Visitor Friends Foundation. Do I need to clear them through security?

ADAM: Oh, you don't need to worry about that. Go on and enjoy yourselves.

LOIS: Thank you, Adam. You're such a doll.

ADAM: My pleasure, Ms. Bergman. Have a nice day.

Lois rolls up her window and drives into the parking garage.

HAM: Yuck! I thought I was going to puke.

LOIS: Put a sock in it, Tyler.

ALEX: (to Lois) I'm shocked. I never thought you could be so...nice. How come you never treat me like that?

LOIS: Hey, I can be as charming as the next gal, but only if I get something out of it.

INT. VISITOR HEADQUARTERS/HALLWAY

Alex and Ham follow Lois down a hallway to a door to a storage closet. Lois looks around and then opens the door.

LOIS: In here. You'll find two uniforms. Get dressed and report to the boss' office by 0900 hours.

ALEX: Roger.

Alex and Ham walk inside, and Lois closes the door behind them.

INT. VISITOR HEADQUARTERS/AUDITORIUM

Paul Maitland is sitting in a large auditorium when Derrick Sullivan walks over to him.

DERRICK: Good morning, professor.

PAUL: Where have you been? I was beginning to worry.

DERRICK: I ran a little late.

PAUL: Punctuality has never been your strong suit. Did you have any trouble getting in?

DERRICK: Nope. Thanks to you. You really pulled this off.

PAUL: Actually, the credit should go to Dean Ash. He got us on the guest list.

A Visitor walks over to a podium

VISITOR: Ladies and gentlemen, please take your seats at this time so we may begin this morning's program.

The lights begin to dim and a movie screen drops down in front of the auditorium. A projector in the back comes to life, and Elaine Johnson appears on the screen.

ELAINE: (on movie screen) Good morning. I am Elaine Johnson, honorary chairwoman of the Visitor Friends Foundation. On behalf of myself and the entire foundation, I want to welcome you to the first in a series of symposia which will focus on how civic-minded citizens such as yourselves can help ensure the successful integration of our Visitor brothers and sisters into human society.

INT. VISITOR HEADQUARTERS/PHILLIP'S OFFICE

Phillip is sitting at his desk looking through some papers. There is a knock at the door.

PHILLIP: Come in.

The door opens and Lois enters with Ham and Alex who are disguised as two shock troopers.

LOIS: They're ready for you.

Phillip looks at his watch.

PHILLIP: Then let's go.

EXT. VISITOR HEADQUARTERS/ROOFTOP

Followed by Alex and Ham, Phillip walks toward a squad shuttle perched on the roof of Visitor headquarters. Other Visitor officers and shock troopers are boarding it. After they board, the doors close, and the shuttle takes off.

EXT. NEW YORK MOTHERSHIP

The squad shuttle approaches the opening to one of the Mothership's landing bays.

INT. NEW YORK MOTHERSHIP/LANDING BAY

The squad shuttle lands inside the hangar bay. The doors to the hatch open, and the shuttle's passengers begin to disembark. A reverberating female voice announces the shuttle's arrival over the landing bay's speakers.

FEMALE VOICE: Attention, all personnel. The shuttle flight from Manhattan headquarters has arrived on landing platform 15. The departure flight will leave at 1000 hours.

Phillip emerges with Alex and Ham right behind him.

INT. NEW YORK MOTHERSHIP/CORRIDOR OUTSIDE PRESIDENT'S QUARTERS

Alex and Ham follow Phillip down an empty corridor. Phillip, who is carrying a bundle in his arms, stops at a door and presses a button on an intercom in the wall.

PHILLIP: (speaking into intercom) Mr. President.

PRESIDENT'S VOICE: (through intercom) Come in.

The door opens, and the three of them walk inside.

INT. NEW YORK MOTHERSHIP/PRESIDENT'S QUARTERS

Wearing casual human clothing, the PRESIDENT is sitting at a table when Phillip walks in. Alex and Ham stand near the door which closes behind them. The President gets up as Phillip walks over to him.

PRESIDENT: Good morning, Phillip.

PHILLIP: Mr. President, you need to get ready to leave. We're going to be transferring you to our headquarters in Manhattan. These two soldiers will accompany you.

PRESIDENT: Why am I being moved? I haven't heard anything about this.

PHILLIP: The decision was made at the last minute for security reasons.

Phillip hands the bundle to the President.

PHILLIP: Take this.

PRESIDENT: What is it?

PHILLIP: A uniform. You can step into the other room and put it on.

PRESIDENT: But why?

PHILLIP: Again, it's for security reasons. You'll be much safer in disguise.

PRESIDENT: But isn't it safer for me up here than down in New York?

PHILLIP: No, it isn't. I don't have time to explain why. Please, just go and get dressed. You need to catch the next shuttle flight.

The President reluctantly goes into the adjoining room to get dressed. After the door to the adjoining room closes, Phillip turns to Alex and Ham.

PHILLIP: From here, you're on your own. Good luck.

Phillip leaves.

INT. VISITOR HEADQUARTERS/AUDITORIUM

A film is being shown in the auditorium. On the screen, a map of the world is displayed with all of the major cities marked with red dots. The film's narrator explains what they signify.

FILM NARRATOR (voice-over): The process of Visitor resettlement will be gradual, occurring in stages over a five-year period. The first stage has already commenced with the selection of Visitor settlement sites in every major city throughout the world. Once these settlements have been established and taken root, the areas of settlement will be allowed to expand until they cover the entire globe.

On the screen, the red dots expand until the entire map of the world is red. Paul and Derrick are watching the film. Paul look over at Derrick and nudges him with his elbow. Derrick looks over at Paul who taps on his watch. Derrick nods, gets up, and leaves.

EXT. VISITOR HEADQUARTERS/ROOF TOP

The squad shuttle lands on the roof of Visitor headquarters. Disembarking from the shuttle, Ham and Alex escort the President, who is clad in a red uniform, boots, cap, and dark glasses. The three of them walk toward the elevator.

INT. VISITOR HEADQUARTERS/UNDERGROUND PARKING GARAGE

The door to the elevator opens, and Alex and Ham escort the President out into the underground parking garage. As they walk along the rows of parked cars, Alex and Ham look for some sign of Derrick. The President's suspicions get the better of him.

PRESIDENT: Where are we going?

Alex and Ham do not answer him. The President stops.

PRESIDENT: I demand to know where we're going!

HAM:(to President) Keep your mouth shut.

The President instantly notices that Ham's voice is human, and he begins to panic.

PRESIDENT: You're human!

The President breaks away before either of them can react.

PRESIDENT: Help! Someone help me!!

ALEX: Damn it!

Alex and Ham chase the President as he runs back toward the elevator. The elevator door opens and two Visitor officers exit.

PRESIDENT: (to the Visitor officers) Help! I'm the President of the United States! Those two men back there are trying to kidnap me!

One of the officers takes out his laser pistol and fires at Alex and Ham who duck for cover. Suddenly, a blue four-door rental car appears and interposes itself between the President and the officers at the elevator.

ALEX:(to Derrick) Grab him, kid!

Wearing a Visitor uniform, Derrick jumps out and tries unsuccessfully to grab the President who darts for cover among a row of cars. Derrick, Ham, and Alex split up and chase after him. An alarm sounds, and the President zigs and zags among the cars trying to lose his pursuers. Derrick jumps and tackles him to the ground. However, a Visitor officer comes behind Derrick and points his laser pistol at Derrick's head.

VISITOR OFFICER: Freeze!

Derrick puts up his hands as if to surrender, but then bolts around and grabs the pistol. Derrick and the officer wrestle over the gun. The President uses the opportunity to flee. While Derrick and the officer struggle, a laser bolt hits Derrick in the back, causing him to slump to the ground. A squad of shock troopers rush over to the officer.

VISITOR OFFICER: (to shock troopers) Find the President!

Meanwhile, the President continues to run among the cars. Shock troopers begin filling the garage in greater numbers. The President can see them, but does not know which among them might be his kidnappers. He attempts to elude all of them, but ends up running into one. The trooper, Ham Tyler, punches him in the face and throws the unconscious President over his shoulder. Ham then runs back toward the car, but finds shock troopers in his path. Alex comes barreling through with the car, plowing through the troopers like a bowling ball knocking down pins.

ALEX:(to Ham) Jump in!

Ham opens the back door, throws the President in, and jumps in after him.

INT. RENTAL CAR

Ham slams the back door shut.

ALEX: Where's the kid?

HAM: I don't know.

Laser blots streak overhead. One of them hits the roof of the car.

HAM: We can't wait around for him! Punch it!

Alex floors it and races toward the exit of the garage. Adam, the Visitor attendant, is standing in front of the crossing arm. Realizing the car is not going to stop, Adam jumps out of the way just before it plows through the crossing arm and turns onto the street.

INT. VISITOR HEADQUARTERS/UNDERGROUND PARKING GARAGE

A squad of shock troopers is standing around Derrick's fallen body. The Visitor officer turns Derrick around so that he can see Derrick's face. Derrick slowly opens his eyes and looks at him.

VISITOR OFFICER: He's still alive. Have him transported to the Mothership.

EXT. MANHATTAN BACK STREET

The rental car is driving down a back street when a patrol car cuts it off at an intersection. The rental car squeals to a halt. A second police car comes up from behind and traps the rental car. Police officers get out and surround the rental car with their guns drawn.

POLICE OFFICER: All right, you bastards! Step out with your hands up!

Alex and Ham exit the rental car with their hands in the air.

POLICE OFFICER: Up against the car!

Alex and Ham turn and lean over the roof of the car. Two officers pat them down for weapons while two other officers remove the President from the car. Alex and Ham are handcuffed and placed in the first patrol car while the President is placed in the second patrol car. The patrol cars then drive off.

INT. PATROL CAR

Alex and Ham are sitting in the back seat while two police officers sit in the front. The officer in the front passenger seat turns around to face Alex and Ham. It is Vincent Marullo.

MARULLO: You two are lucky we got to you first.

Alex and Ham look at each other in puzzlement.

MARULLO: I'm Vince Marullo. Chris arranged for us to meet you at the rendezvous point. However, instead of waiting for you to come to us, we decided we better go out and find you before someone else did.

ALEX: Thanks. You really had us going back there.

MARULLO: We wanted it to look good. So where are we taking you?

ALEX: Chinatown.

INT. MOTHERSHIP/INTERROGATION CENTER

A security agent of the Shadow Guard snaps to attention as Diana walks into the interrogation center on the Mothership.

DIANA: I understand we have a prisoner.

SECURITY AGENT: Over here, Diana.

The security agent directs Diana over to an alcove where Derrick is strapped into a metal chair. Derrick is in visible pain.

DIANA: What is his condition?

SECURITY AGENT: He was shot in the back. The injury is severe and potentially life-threatening.

Diana turns to Derrick.

DIANA: I can see you're in a great deal of pain, my young friend. Let me help you. All you need to do is answer a few simple questions first. I'll start with an easy one. Tell me your name.

Derrick manages to give her a crooked smile.

DERRICK: Coco Chanel.

DIANA: Your attempt at defiance is witty but futile.

Diana motions to the security agent who takes out an injection gun and injects Derrick in the neck.

DIANA: Feeling more cooperative?

DERRICK: Y...yes.

DIANA: Good. Now tell me your name.

DERRICK: Derrick... Sullivan.

DIANA: Very good, Mr. Sullivan. That's much better. Before I go any further, I must compliment you on that very handsome uniform you're wearing. Are you an ensign on the Mothership?

DERRICK: No.

DIANA: I didn't think so. Has someone on the Mothership been helping you?

DERRICK: (nodding his head) Yes.

DIANA: And who might that be?

DERRICK: I don't know.

Diana motions to the security agent who injects Derrick a second time.

DIANA: (firmly) Let's try it again. Who is your contact on the Mothership?

DERRICK: I don't know.

Diana looks over at the security agent then looks back at Derrick.

DIANA: All right, Mr. Sullivan. Then tell me who sent you to kidnap the President.

DERRICK: (struggles) The... The... Vice-President.

The door to the interrogation center opens and Jessica, Angela, and Phillip enter. Diana is visibly annoyed by their presence.

DIANA: What is the meaning of this intrusion?

Diana steps away from Derrick.

JESSICA: I want to know why this interrogation isn't being conducted by military security.

DIANA: I think that should be obvious, commander. Your security measures have been completely inadequate. How else can you explain the fact that the President was kidnapped from right under our noses?

JESSICA: I received explicit instructions that the President was not to be guarded like a prisoner.

DIANA: The lapses in security go much deeper than that. It's obvious that the Fifth Column remains active on this ship.

JESSICA: Impossible. I personally ordered the arrest of every suspected member of the Fifth Column.

DIANA: You should have cast a wider net.

JESSICA: I would never authorize the arbitrary arrest of any member of my crew.

DIANA: It's that kind of thinking, commander, which undermines our new Leader's confidence in the military's resolve to purge traitors from its ranks. Unless the military begins to take more decisive action, Maximillian will be forced to rely increasingly on the Shadow Guard.

JESSICA: This is a military vessel on a military mission. The Shadow Guard has no right to interfere, and I object to their presence on my ship.

DIANA: Your objection is noted, but they will remain here on my authority.

JESSICA: We'll see what the Commander-in-Chief says when he learns about this.

Jessica turns abruptly and leaves. Phillip follows her, but Angela stays behind.

ANGELA: Diana, could I say something?

DIANA: (impatient) What is it?

ANGELA: I share your concerns. All of my efforts to bolster security have been thwarted by Jessica's restrictions. Our mission here will never succeed as long as she is in command.

DIANA: I appreciate the candid assessment of your commander. Unfortunately, she has many supporters in the High Command, including the Commander-in-Chief himself.

ANGELA: Surely, our new Leader can overrule them.

DIANA: Not yet. Maximillian still hasn't consolidated his control over the military. Until he does, he has instructed me to move very carefully.

ANGELA: I'm at your disposal.

DIANA: Your assistance is appreciated. For now, you'd be most helpful serving as my eyes and ears. Pay particular attention to the commander. She might prove very troublesome.

ANGELA: I'll see to it immediately.

Angela leaves, and the security agent calls to Diana.

SECURITY AGENT: Diana.

Diana turns and walks back over to Derrick whose head is hanging down.

SECURITY AGENT: He's lost consciousness. He'll die unless he receives immediate medical treatment.

DIANA: Very well. We'll resume his interrogation later.

SECURITY AGENT: And what about the President?

DIANA: That problem is already taken care of.

INT. VICE-PRESIDENT'S HIDEOUT IN CHINATOWN

Julie and the Vice-President hear three knocks at the door. Julie walks over and answers it. Alex and Ham walk in with the President who has regained consciousness but has a black eye. Julie notices that the Derrick is not with them.

JULIE: Where's Derrick?

ALEX: We ran into some problems back at Visitor headquarters. The President here started raising a ruckus and alerted the entire place to our presence. In all the excitement, the kid got separated from us. We don't know what happened to him.

HAM: We have to assume he's been captured which means we need to find a new place to hide.

VICE-PRESIDENT: First things first. Let Dr. Parrish examine him.

The President notices the Vice-President for the first time and instantly becomes agitated.

PRESIDENT: (to the Vice-President) I should have known you were behind this, you Judas!

VICE-PRESIDENT: Shut up and let the lady examine you!

Julie approaches him, but the President backs away.

PRESIDENT: What are you going to do?

JULIE: I need to examine the back of your neck.

PRESIDENT: Why?

VICE-PRESIDENT: She's going to see if the Visitors have tampered with your mind.

PRESIDENT: What are you talking about?! There's absolutely nothing wrong with me!

Alex and Ham grab the President and force him to lie face down on the bed. Julie walks over to the President and examines the back of his neck. She looks and looks, but does not find anything.

JULIE:(puzzled) I can't find any scar.

HAM: You must have missed it. Look harder.

JULIE: I'm telling you there's nothing here. He's okay.

The President pushes everyone aside and gets back up.

PRESIDENT: I already told you that!

ALEX: I don't understand.

VICE-PRESIDENT: Oh, it's very clear, Mr. Hale. They didn't even need to convert him! That bastard willingly sold out the entire human race! He knew exactly what he was doing all along!

PRESIDENT: You're crazy!

HAM:(to the Vice-President) What are we going to do with him?

VICE-PRESIDENT: Take the traitor out back and shoot him!

HAM: (shocked) Sir?

VICE-PRESIDENT: Do I have to draw you a picture, Mr. Tyler?! Execute him!

JULIE: We can't just kill him in cold blood!

HAM: Sir, with all due respect, he should be put on trial...

VICE-PRESIDENT: You really disappoint me, Mr. Tyler. I guess I'll have to take care of this myself.

The Vice-President grabs a pistol from the night stand next to the bed and points it at the President. Alex and Julie pull the President out of the way just before the Vice-President fires. Ham dives for the Vice-President and tries to wrestle the gun out of his hand. Alex runs over to help him.

VICE-PRESIDENT: Traitors!! I'll kill you all!!

Alex manages to grab the Vice-President's arms. Julie comes over with a syringe and injects the Vice-President who stops resisting and falls unconscious onto the bed.

JULIE: Turn him over.

Alex and Ham roll the Vice-President over onto his stomach. Julie examines the back of the Vice-President's neck and discovers a scar running along his hair line.

JULIE: (to Ham and Alex) He's been converted.

HAM: And we've been duped.

PRESIDENT: I don't understand.

HAM: The lizards planted him. They wanted a civil war from the very beginning.

PRESIDENT: But why?

HAM: (to the President) To drive you into their arms and convince you to back their puppet provisional government.

ALEX: What do we do now? We can't stay here.

JULIE: We have to get the Vice-President over to the Medical Center. It might be possible to reverse whatever they did to him.

PRESIDENT: Let's do it.

INT. NEW YORK MOTHERSHIP/DETENTION LEVEL/SUBHALLWAY

Phillip walks down a dark subhallway in the detention level of the Mothership. He peeks around a corner and sees a security guard of the Shadow Guard standing several yards away in front of a door. The door slides open and a medic in a white uniform emerges. Phillip waits until the medic walks by and disappears. Phillip then turns the corner and approaches the guard.

PHILLIP: I need to see the prisoner.

GUARD: That's not possible. Only authorized personnel are permitted access to him.

PHILLIP: I'm the deputy chief of security on this ship. I have reason to believe that Fifth Column sympathizers inside the medical corps may attempt to kill the prisoner before he can be fully interrogated. Has anyone else seen him?

GUARD: Yes. A medic left only a few seconds ago.

PHILLIP: Then I may already be too late. Open the door! Hurry!

The guard turns and opens the door.

INT. NEW YORK MOTHERSHIP/DETENTION LEVEL/HOLDING CELL

The guard follows Phillip into the holding cell. The doors closes behind them. Derrick lies naked and unconscious underneath a sheet on a gurney. Phillip walks over to the gurney and examines Derrick's face very closely.

PHILLIP: Just as I feared. I think you should see this.

The guard walks over and stoops down to get a better look.

GUARD: What is it?

Phillip backs up, takes out his laser pistol, and fires it, hitting the guard in the back. The guard stumbles at first, but regains his footing and turns around.

GUARD:(coldly) What are you doing?

Phillip is shocked as the guard comes at him. Phillip fires a second time, hitting the guard in the chest. The guard still manages to grab hold of Phillip and push him against the wall before finally succumbing and dropping to the floor. Phillip walks over to Derrick, takes out a hypospray device, and injects Derrick in the neck. Derrick immediately regains consciousness.

DERRICK: Who are you?

PHILLIP: A friend. How do you feel?

Derrick sits up.

DERRICK: Actually, I feel really good.

PHILLIP: I injected you with a stimulant. However, its effect is only temporary.

DERRICK: What's going to happen to me?

PHILLIP: I'm going to try to get you off the Mothership, but we have to hurry.

INT. UNIVERSITY MEDICAL CENTER/OPERATING ROOM

Julie Parrish and Richard Freeling stand over the Vice-President as he lies backside up on an operating table. Julie looks at a nearby monitor which tracks the Vice-President's vital signs.

JULIE: All right, Richard. He's ready.

RICHARD: I still can't believe that I'm about to operate on the Vice-President of the United States.

JULIE: Just think of him as another patient.

RICHARD: That's easy for you to say. You're not holding the scalpel.

Dr. De Bilt's voice comes over a speaker.

DE BILT (off screen): (over speaker) Is everything all right down there?

Richard and Julie look up at the window of the observation area where Dr. De Bilt, Dr. Chandler, Chou, Yelena, Ham, Alex, and the President are watching.

RICHARD: Yes. Everything is fine. We're ready to proceed.

Richard picks up a scalpel.

RICHARD: I'm going to make an incision along the scar line on the back of his neck.

Richard makes the incision.

RICHARD: (to Julie) Now what exactly does this neurotransmitter look like?

JULIE: It's long and cylindrical like a drill bit.

Richard probes the incision.

RICHARD: I think I found the end of it. The device appears to have been inserted through the foramen magnum and into the brain stem.

JULIE: Yes. It sends some kind of electrical impulse to the other areas of the brain, the areas that control higher brain functions.

RICHARD: Then maybe we should just sever the connection.

JULIE: You think that's safe?

INT. UNIVERSITY MEDICAL CENTER/OBSERVATION AREA

Dr. De Bilt looks down on Richard from the operating room.

RICHARD: (to Dr. Be Bilt) We can try to remove the device, but I'm not sure what effect that will have. What should we do?

Dr. De Bilt turns to the President.

DE BILT: Mr. President, this must be your decision.

The President thinks for a moment.

PRESIDENT: We have no other choice. Tell them to remove it.

Dr. De Bilt turns back toward the observation window and talks into the speaker.

DE BILT: (to Richard) Dr. Freeling, you may go ahead and remove it.

INT. UNIVERSITY MEDICAL CENTER/OPERATING ROOM

Richard looks over at Julie and then back down at the Vice-President.

RICHARD: Okay. I'm going cut through what appear to be leads connecting the device to the brain stem. This should avoid any kind of damage to the surrounding tissue.

Suddenly, a red light on the monitor starts flashing.

JULIE: He's going into cardiac arrest!

RICHARD: Help me turn him over!

INT. UNIVERSITY MEDICAL CENTER/OBSERVATION AREA

The President moves closer to the window.

PRESIDENT: What's going on down there?

DE BILT: I'm not sure.

INT. UNIVERSITY MEDICAL CENTER/OPERATING ROOM

Julie wheels over a portable defibulator unit. Richard grabs the paddles to the defibulator.

JULIE: It's charged.

Richard places the paddles on the Vice-President's chest.

RICHARD: All right. Clear.

The Vice-President's chest heaves upwards as the electric shock is administered. Julie looks over at the monitor.

JULIE: Nothing.

RICHARD: We'll try again.

Richard places the paddles back on the Vice-President's chest.

RICHARD: Clear.

The Vice-President chest heaves upwards again. Julie looks at the monitor. Not only has the Vice-President's heart stopped, but all of his other vital signs have flatlined as well.

JULIE: It isn't working, Richard. All of his vital signs are flatlining. It's as if his entire body has been switched off.

INT. UNIVERSITY MEDICAL CENTER/OBSERVATION AREA

Dr. De Bilt looks down at Richard from the observation area. Richard turns and looks up to those in the observation area.

RICHARD: (through speaker) The Vice-President is dead.

There is a moment of stunned silence.

DE BILT: What happened?

RICHARD: (through speaker) I'm not sure. The device appears to have been designed to kill him if any attempt was made to remove it. I'll have to perform an autopsy.

YELENA: (to Dr. De Bilt) We also need to examine that neurotransmitter and find out how it works.

DE BILT: There'll be plenty of time to do all of that down in the lab.

EXT. CHRIS JOHNSON'S HOUSE

A shuttle descends and lands on the street in front of Chris Johnson's house. The hatch opens and Phillip steps out with Derrick who wears dark glasses and the guard's black uniform. Chris comes to the front door, opens it, and the two walk inside.

INT. CHRIS JOHNSON'S HOUSE/STUDY

Phillip and Derrick walk into the den. Chris follows them and closes the door. Alex and Ham are already sitting on a sofa.

PHILLIP: (to Alex and Hale) I'm returning someone to you.

Derrick removes his cap and glasses.

ALEX: Kid! We were about to give up on you! Are you all right?

DERRICK: Actually, I'm not feeling so good.

Alex gets up.

ALEX: Take my seat, kid. What happened?

Derrick sits down.

PHILLIP: You were damned sloppy! Your friend here was captured and interrogated by Diana. I only hope I got him off the Mothership before he divulged any damaging information.

ALEX: We're sorry about that. Thanks for putting your neck out for us.

PHILLIP: Well, don't expect me to do it again. I can't afford to take any more risks like this. It's getting too dangerous.

HAM: Don't worry. We can take over from here.

PHILLIP: What's going to happen to the President?

ALEX: We have to keep him incognito until the Security Council meeting. Right now, we're trying to find a new hiding place for him.

CHRIS: I might be able to help you.

INT. CORRINE JOHNSON'S HOME/KITCHEN

Corrine Johnson, Shirley King, and Shirley's little boy, Jimmy, are sitting at the kitchen table. Corrine and Shirley are drinking coffee while Jimmy finishes a bowl of cereal.

CORRINE: (to Jimmy) Are you done already?

JIMMY: Yep. Can I watch cartoons now?

CORRINE: I guess a promise is a promise. Go on.

Jimmy gets off the chair and runs into the living room.

CORRINE: (to Shirley) He's just a little bundle of energy.

SHIRLEY: I want to thank you for looking after him, Corrine. I don't have anyone else to turn to.

CORRINE: So what's been going on, Shirl?

SHIRLEY: Ron's been taking every penny I make. When I told him I needed money for Jimmy, he got upset. He accused me of seeing clients behind his back and hiding the money from him.

CORRINE: What'd he do to you?

SHIRLEY: Just more of the same.

CORRINE: You can't go on like this. One of these days, he might kill you.

SHIRLEY: I can take care of myself.

CORRINE: For how long? And what about little Jimmy? He's in real danger. You have to get out of there.

SHIRLEY: Don't you think I've thought about that, Corrine? But it's just not that easy. Ron is well-connected. He's got a lot of friends in the Overlords. Every hooker around here pays them protection money. If Ron put out the word on me, I'd be out of a job or worse.

INT. CORRINE JOHNSON'S HOME/LIVING ROOM

Jimmy is watching an episode of the "Roadrunner" cartoon on television when Cynthia walks in.

CYNTHIA: Good morning, Jimmy.

JIMMY: Hi.

The doorbell rings. Cynthia walks over to the door and opens it. Duane is standing on the other side.

DUANE: Hello, mom.

CYNTHIA: Duane, what are you doing here?

DUANE: Grandma asked me to come over. She said Uncle Chris wants to talk to me about something.

CYNTHIA: Oh. No one ever tells me anything around here.

Corrine and Shirley walk into the room.

CORRINE: Is that Duane?

DUANE: Yeah, grandma. It's me.

CORRINE: Good. Your uncle should be here any minute.

CYNTHIA: What's this all about?

CORRINE: I'm not sure exactly. Chris would only say that it was very important.

Jimmy continues to watch the television, oblivious to the conversation talking place behind him. Suddenly, the "Roadrunner" is interrupted by a special news bulletin. Jimmy lets out a loud protest.

JIMMY: No!

ANNOUNCER (voice-over): (on television) We interrupt our regular programing to bring you this is a special news bulletin.

Everyone turns toward the television as an anchorman comes on.

ANCHORMAN: (on television) Good morning. We have just received some shocking news. A few minutes ago, the provisional government announced that it has received unconfirmed reports that the President of the United States was summarily executed last night while being held prisoner by rebel forces loyal to the Vice-President. This latest development is certain to cast a dark shadow over the upcoming special session of the United Nations Security Council which is being convened to discuss ways to combat the threat posed by terrorists opposed to the peace accords.

The doorbells rings again. Corrine walks over and answers it. Chris, Ham, and the President stand at the doorstep. Wearing a jogging suit, a cap, and dark glasses, the President looks somewhat less than presidential.

CORRINE: Hello, Chris. Come on.

The three of them walks inside. Corrine closes the door behind them.

CORRINE: Have you heard the news?

CHRIS: Yeah. We heard it on the radio coming over here.

CORRINE: And who did you bring with you?

Chris turns to Ham.

CHRIS: Mama, I'd like you to meet Ham Tyler. Ham, this is my mother, Corrine.

Ham shakes Corrine's hand.

CORRINE: Welcome, Mr. Tyler. Please make yourself at home.

HAM: Thank you, ma'am.

Chris then turns to the President who removes his cap and glasses.

CHRIS: As for our other guest, I don't think he needs any introduction.

Corrine and everyone else in the room is stunned when they realize it is the President.

CORRINE: Oh, lord! Are you who I think you are?!

PRESIDENT: I believe I am.

CYNTHIA: But you're supposed to be dead!

PRESIDENT: The reports of my death have been greatly exaggerated.

CORRINE: I can't believe you're actually standing here in my house! (to Chris) What's this all about?

CHRIS: It's a long story, mama. We've been trying to find a place to hide him. That's why I wanted to talk to Duane.

DUANE: Oh, really? And why should I lift one finger to help that man?

CORRINE: Duane! Look who you're talking to! Show some respect!

DUANE: I don't owe him anything! What's he ever done for us?! Nothing!

CHRIS: Come on, Duane. You know the streets better than anyone. We really need your help.

DUANE: Save the sweet talk, Uncle Chris. A street hustler like me knows when he's being used.

CHRIS: Damn it, Duane! I'm not trying to use you!

HAM: (to Chris) I don't think we're getting anywhere with this, but thanks for trying.

SHIRLEY: Wait. I think I can help you.

INT. MARIA'S CAMPUS APARTMENT/LIVING ROOM

Maria is walking toward the front door when Lisa enters the living room.

LISA: And where are you going?

MARIA: Why don't you mind your own business?

LISA: You're still seeing Carlos, aren't you?

MARIA: Get off my back, Lisa!

LISA: No, I won't! I demand you put an end to the perverse relationship you have with him!

MARIA: How dare you! Where do you get off accusing me of having a perverse relationship with Carlos?!

LISA: Your track record speaks for itself. Your judgment when it comes to men leaves much to be desired.

MARIA: You're so damn sanctimonious! Instead of finding fault in everyone else, why don't you look in the mirror for change?! Then maybe you'll discover the real problem!

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

MARIA: Then let me spell it out for you. You're a bigot! You blame Carlos for the death of your brother just because he's a Visitor!

LISA: So you think you got me all figured out, do you?! Well, you've only scratched the surface!

MARIA: What more is there?!

LISA: It just so happens that my brother was never a member of the resistance! I lied to you!

MARIA: (shocked) Why?

LISA: Because he was an informer. He collaborated with the Visitors.

MARIA: So what really happened to him?

LISA: A mob killed him after the Visitors fled from the red dust. Don't you see how insidious their influence is? They charm and corrupt at the same time. That's what Carlos is doing to you. He almost fooled me too.

MARIA: You're wrong, Lisa.

LISA: Come on, Maria. For once think with your head instead of your heart. There are a bunch of us getting together to fight this thing. We're forming a student resistance cell on campus. I want you to be part of it.

MARIA: In other words, you're forcing me to make a choice.

LISA: That's right. It's either him or me.

MARIA: I need time to think about it.

LISA: No. You have to decide right now. If you walk out that door, our friendship is over.

Maria think for a moment, opens the door, turns to look at Lisa, and then leaves.

INT. HARLEM TENEMENT/PRESIDENT'S HIDEOUT

The President looks out the front window of an empty, run-down apartment. Shirley walks over to him.

SHIRLEY: (apologetically) I know you're probably used to much better than this.

PRESIDENT: It's just fine, Shirley. You've been a great help to us. Thank you.

The front door opens, and Alex Hale walks in with Derrick.

ALEX: Hello, Mr. President.

PRESIDENT: Ah, Mr. Hale. It's good to see you again.

The President walks over to them.

PRESIDENT: (to Derrick) And you must be the young man who got captured trying to save me from myself.

DERRICK: Yes, sir. I'm Derrick Sullivan.

PRESIDENT: Well, Derrick, I want to thank you for what you did back there. I also owe you an apology.

DERRICK: It's okay, sir. I'm just thankful to be alive and back with my friends.

PRESIDENT: How are you feeling?

DERRICK: I'm doing better. Dr. Parrish took good care of me. She said I just need to take it easy for a while.

Shirley walks over to them.

SHIRLEY: (to the President) I guess I better be going. Let me know if you need anything.

PRESIDENT: We will. Thanks again.

As Shirley opens the front door to leave, Whitey walks in.

SHIRLEY: Whitey, what are you doing here?

WHITEY: Hey, Duane wasn't pulling my leg! You really are the President!

PRESIDENT: Who is this?

SHIRLEY: One of Duane's friends.

WHITEY: You know, all of you guys staying here isn't such a good idea. People in these parts don't see too many white folks. You might start attracting some attention.

DERRICK: He's got a point.

WHITEY: You're lucky I showed up. If people start asking questions, I'll just tell them your my uncles and cousins.

INT. UNIVERSITY CLASSROOM

A group of students has assembled in a classroom. Lisa is among them. Scott Newman, the leader of the student resistance, is standing by the door when Paul Maitland pops his head in. Paul and Scott exchange a few words. Scott then walks to the front of the room.

SCOTT: Take your seats everyone. We're ready to get started.

Everyone settles down.

SCOTT: I want to welcome all of you to what has been officially billed as the first organizational meeting of the new badminton club. I don't want to disappoint all you badminton fans, but we're going to be discussing other matters tonight.

Everyone pretends to be disappointed.

SCOTT: I know that everyone here is very disturbed about what's been happening since the signing of the peace agreement with the Visitors. We're not alone. I've just received word that something momentous is in the works which is going to wake up the entire world. A very special guest has come to meet with us and tell us more. Please join me in welcoming Dr. Juliet Parrish.

The door opens and Julie walks into the classroom. The students become very excited.

JULIE: Thank you, Scott. I take it that many of you already know who I am. While I have spent the past few years as a member of the Los Angeles resistance, I have always considered myself to be a person of peace. It wasn't long ago that I attended the first armistice meeting in Los Angeles which eventually led to the signing of the peace agreement. However, something went terribly wrong along the way. The peace agreement is not what it appears to be and, tomorrow, the entire world is going to learn the truth. Something very big is going to happen. I can't tell you exactly what it will be, but you must be ready to act when the time comes.

INT. HARLEM TENEMENT/STAIRWELL

Shirley King and Ham Tyler walk up a flight of stairs. On the landing above them, the door to Shirley's apartment opens and RON, her boyfriend, walks out. It is obvious that he has been drinking. Shirley stops in her tracks.

SHIRLEY: Ron... I wasn't expected you back so soon.

RON: So I finally caught you sneaking around behind my back!

SHIRLEY: Baby, I don't know what you're talking about.

Ron grabs her by the arm and yanks her up the stairs.

RON: Don't play me for a fool, bitch! (looking over at Ham) How many of these johns have you been seeing without telling me?! Huh?!

SHIRLEY: He's not a john.

Ron starts shaking her.

RON: I'm sick of your lies! You're going to tell me the truth even if I have to beat it out of you!

Ron gets ready to hit her, but Ham grabs his arm.

HAM: I suggest you let the lady go.

Startled, Ron lets go of Shirley and turns around to face Ham who releases Ron's arm. Ron's surprise quickly turns to fury.

RON: (to Ham) What?!

SHIRLEY: Ron...

RON:(to Shirley) Shut up! (to Ham) What'd you say?!

HAM: I said let her go.

Ron pokes Ham in the chest with his finger.

RON: Listen, chump! I'll do whatever I want with my old lady!

HAM: You'll have to get through me first, hot shot.

RON: You picked the wrong fight, sucker!

Ron takes a swing at Ham, but Ham blocks it, countering with a right cross to Ron's jaw. Dazed, Ron swings blindly at Ham and misses. Ham hits Ron again with a one-two punch which sends him slumping to the floor. Shirley intervenes and holds Ham back.

SHIRLEY: Please stop.

Whitey comes down the stairs and sees Ham standing over Ron.

WHITEY: What the hell is going on down here?

HAM: I'm teaching this bum the difference between beating up a woman and fighting a real man.

Ron manages to get up. A stream of blood runs from his nose and the corner of his mouth.

RON: (ominously) You haven't licked me yet. I'll be back.

Ron walks down the stairs and leaves.

WHITEY: (to Ham) Are you crazy?! That guy's real tight with the Overlords! They'll be after you when they hear about this!

HAM: Who cares?

WHITEY: I care! Listen, man, I live in this neighborhood! If the Overlords think I'm helping you, I won't be able to show my face in public again!

Whitey starts walking down the stairs.

SHIRLEY: Where are you going?

WHITEY: I'm out of here.

Shirley looks over at Ham as Whitey leaves.

SHIRLEY: (to Ham) I appreciate you sticking up for me, but Whitey's right. Ron and his friends will come back for you.

HAM: We'll be gone by then. How about you? Are you going to be okay?

SHIRLEY: Don't worry about me, Mr. Tyler. I'm a survivor.

EXT. ROOF OF UNITED NATIONS HEADQUARTERS - MORNING

A large group of reporters and international dignitaries congregates around a platform on the roof of the United Nations building. Overhead, a squad shuttle glides gently downward until it lands on the platform. The Secretary General and several members of his staff walk toward the shuttle. The shuttle remains still for a moment and then the hatch opens. Two guards in black uniforms exit and take positions on either side of the hatch. A few seconds later, Justin comes out and walks over to the Secretary General. The two shakes hands and exchange a few words. Justin then turns to the pool of reporters and switches on a small microphone on his uniform.

JUSTIN: Mr. Secretary General, and ladies and gentlemen, thank you for this very kind reception. At the outset, I want to express my deepest condolences and sympathies to the people of the United States as they mourn the loss of their President. Like our own departed leader, he was a man who gave his life in the pursuit of peace. Their sacrifices have not been in vain, but have only served to strengthen our resolve. We solemnly invite all of the nations of the world to join us here today to carry on their work. Through our combined efforts, their great vision will become a reality.

Everyone claps.

INT. UNDERGROUND RESEARCH LABORATORY

Dr. De Bilt walks into the laboratory as Yelena watches Chou rigging a laser.

DE BILT: Have any of you seen Dr. Parrish?

YELENA: She's going to be a little late.

DE BILT: And I know why. I thought I made it clear that this lab was to be her first priority.

YELENA: Come on, Karl. Give her a break. She's worried about her friends. Besides, Chou and I have everything under control.

De Bilt relents.

DE BILT: So have you made any progress on that neurotransmitter device?

YELENA: No. It's made of some kind of alloy I've never seen before. So far, we haven't been able to even scratch it.

DE BILT:(looking over at Chou) What is all of this?

CHOU: I'm setting up a high power laser. Supposedly, it can cut through anything. We'll soon find out.

INT. UNITED NATIONS HEADQUARTERS/SECURITY COUNCIL CHAMBER

The Secretary General and the fifteen members of the United Nations Security Council are seated at the table inside the Security Council Chamber. General Vaughn sits as the representative of the United States. Justin sits as the representative of the "Sirians." The President of the Security Council calls the session to order.

SECURITY COUNCIL PRESIDENT: This special session of the United Nations Security Council is called to order. I now turn the floor over to the Secretary General.

SECRETARY GENERAL: Thank you, Madam President. On behalf of all the member states and organs of the United Nations, I want to extend a very warm welcome to His Excellency, Justin, and congratulate him on his appointment as Sirian Ambassador to the United Nations and as representative of the sixth and newest permanent member of the Security Council.

Justin stands as everyone claps.

EXT. UNITED NATIONS HEADQUARTERS

The police car pulls up to the front of United Nations Headquarters. The back doors open and Alex and Hale get out with the President. Alex and Ham are both disguised as shock troopers. The three of them walk in through the front entrance.

INT. UNITED NATIONS HEADQUARTERS/SECURITY COUNCIL CHAMBER

The special session inside the Security Council Chamber continues.

SECURITY COUNCIL PRESIDENT: And now we will hear from General Curtis Vaughn who will make a statement on behalf of the United States.

GENERAL VAUGHN: Madam President, Mr. Secretary General, and fellow members of the Security Council, I cannot help but feel out of place at these proceedings. I do not pretend to be a diplomat for I am a simple soldier at heart. However, I did have the privilege of working intimately with a great statesman in my capacity as the President's National Security Advisor. Without his courage and clarity of vision, we would not be here today. Although he cannot be with us...

PRESIDENT (off-screen): I think a eulogy might be a little premature, General.

Everyone in the chamber is stunned as the President walks in and stands before them.

PRESIDENT: You're not looking at a ghost, ladies and gentlemen. I am still very much alive. I know many of you have wondered what happened to me after my disappearance. During most of that time, I was a guest on the New York Mothership (looking over at Justin) where the Visitors very generously offered me their protection after the coup attempt led by the Vice-President.

Justin nods to the President.

PRESIDENT: This, however, did not prevent my abduction by forces loyal to the Vice-President who believed that I had been converted by the Visitors. It wasn't long before they discovered that it was not I who had been converted, but rather it was their own leader...the Vice-President himself.

There is excited chattering inside the chamber. Ham and Alex approach Justin.

PRESIDENT: And why would the Visitors do this? Because their new leadership wants us weak and divided. That way we will be unable to resist them when they reveal their true objective...to steal our world from us and make it their own. We have all been deceived!

This draws a spirited response from those in the chamber. Justin attempts to get up, but Alex and Ham come up behind him and force him back into his chair.

INT. AMANDA PARRISH'S APARTMENT/LIVING ROOM

Edward, Amanda, and Matt Parrish are watching the Security Council proceedings on television.

PRESIDENT: (on television) Effective immediately, I am issuing direct orders to all military and law enforcement authorities to arrest all Visitor personnel and seize every Visitor facility within their respective jurisdictions.

Cynthia walks in as they are watching television.

AMANDA: Cynthia, I think you should see this.

Cynthia walks over and pretends to be surprised.

CYNTHIA: Well, I'll be.

EXT. EL BARRIO NEIGHBORHOOD/SIDEWALK

Visitor engineers and technicians raise their hands in the air as they are held at gunpoint by national guard soldiers. At a distance, Simon sees what is happening and attempts to elude arrest by sneaking down an alley.

EXT. EL BARRIO NEIGHBORHOOD/ALLEY

Simon runs down the alley, but he stops when Ox appears in front of him.

OX: Going somewhere?

Simon turns around, but his retreat is cut off by Romeo and Tony. The three of them converge on Simon forcing him to back up toward a fire escape ladder.

SIMON: What do you want?

ROMEO: You'll find out soon enough.

Suddenly, a metal garbage can drops down over Simon. The three rush in and grab it. Bandit, who is perched overhead on the first landing of the fire escape, comes down the ladder.

TONY: Good job, homie! Right on target!

INT. VISITOR HEADQUARTERS/LOBBY

Police officers stream into the lobby of Visitor headquarters through the front door.

POLICE OFFICER: (to Visitors inside lobby) Put your hands in the air and get up against the wall!

The Visitors comply, and the officers frisk them for weapons.

INT. VISITOR HEADQUARTERS/PHILLIP'S OFFICE/RECEPTIONIST'S AREA

Phillip walks into the receptionist's area to see Lois when several police officers come in with their weapons drawn.

POLICE OFFICER: Stop where you are! You're now our prisoners!

Lois and Phillip raise their arms into the air.

PHILLIP: It's all right. We won't put up any resistance.

EXT. WASHINGTON SQUARE PARK

Maria and Carlos are walking toward the park where a huge crowd has gathered. As they get closer, they see rows of Visitor exchange students kneeling on the ground with their heads down, guarded by student activists holding bats and other crude weapons. A male student walks over to the prisoners with a young female Visitor exchange student in tow. He dumps her rather unceremoniously among the other exchange students. Scott walks over to him.

SCOTT: What's taking you guys so long?

MALE STUDENT: They're trying to hide from us, but don't worry. We'll find them.

Maria and Carlos approach them.

MARIA: What's going on here?

SCOTT: We're rounding up prisoners. Soon the entire campus will be Visitor-free.

A female student approaches Carlos.

FEMALE STUDENT: Hey! Her friend here is one of them!

SCOTT: Then put him with the others.

A group of students grab hold of Carlos.

MARIA: No!

Maria attempts to free Carlos, but one of the students pushes her to the ground. A hand grabs hold of her arm and pulls her up. It is Lisa. Brad is with her.

MARIA: Lisa, you got to stop them!

LISA: Come on, Maria! It's time for you to come to your senses and forget about him!

Carlos is taken away. Maria pulls her arm out of Lisa's grasp.

MARIA: Let go of me!

Maria storms off after Carlos, leaving Lisa and Brad behind.

INT. CORRINE JOHNSON'S HOME

Corrine Johnson, Shirley King, and Derrick Sullivan are watching the President on television.

PRESIDENT: (on television) To the Visitor's new leader, I deliver this ultimatum. Unless you agree to the complete and unconditional withdrawal of all your forces from our planet, we will wage a relentless war against your occupation using every means at our disposal. Not a single Visitor--

Suddenly, the broadcast is cut off and replaced by static.

SHIRLEY: What happened?

Corrine takes a remote control and starts switching from channel to channel. All of them are off the air.

CORRINE: Looks like every station is off the air.

DERRICK: That's impossible!

EXT. NEW YORK MOTHERSHIP

Like a cloud of locust, squadrons of black gunships stream from the New York Mothership and head toward the city.

EXT. WASHINGTON SQUARE PARK

A group of students taunt the Visitor prisoners. One of them unfurls a large red Visitor flag while another douses it with gasoline. A male student then strikes a match.

MALE STUDENT: The Visitors can burn in hell!

He lights the flag on fire, and everyone starts to cheer. Suddenly, a series of powerful explosions is heard in the distance. Lisa looks over at Brad.

LISA: What was that?

EXT. MANHATTAN SKYLINE

Wave after wave of gunships fly over the Manhattan skyline. Several of the gunships break formation and descend toward the city below.

EXT. WASHINGTON SQUARE PARK

People start yelling as a gunship swoops down from the sky and opens fire, striking down several students where they stand. The crowd disperses and runs for cover. A second gunship pursues a stream of people fleeing down the street through the center of the park toward the Triumphal Arch. Cars parked along the side of the street are hit by plasma fire and explode into flames. The gunship then turns its fire on the Triumphal Arch itself which topples over into a pile of rubble.

INT. UNDERGROUND RESEARCH LABORATORY

Wearing eye protection, Chou activates the laser which directs a powerful beam of light at the neurotransmitter. Yelena looks on from behind him.

YELENA: Well?

Chou takes a closer look.

CHOU: So far, it doesn't seem to be having any effect. I'm going to increase the intensity of the beam.

As Chou increases the laser's intensity, a powerful energy surge like a bolt of lightning emanates from the neurotransmitter, burning out the laser and administering a lethal shock to Chou who falls to the ground.

YELENA: Chou!

She gets no response. Bolts of energy continue to be discharged from the neurotransmitter which begins to glow. Sparks rain down as the equipment in the lab is struck by the electrical bursts. Suddenly, the entire lab loses power and is thrown into darkness except for the illumination provided by the bursts of light coming the neurotransmitter. Yelena retreats to the door of the lab as Dr. De Bilt and Richard Freeling rush in.

DE BILT: My God!

YELENA: We got to get out of here!

At this point, the glow from the neurotransmitter becomes unbearably bright. As the three of them shield their eyes, there is a thunderous explosion which vaporizes the lab.

EXT. WASHINGTON SQUARE PARK

Maria and Carlos make their way through the smoke, looking for Lisa and Brad.

MARIA: Lisa!

At first, she gets no response, but then they hear a weak voice coming from behind them.

BRAD (off screen): Maria...

Brad emerges from the smoke carrying Lisa in his arms. Maria and Carlos run over to them.

MARIA: Oh, God! What happened?!

BRAD: (weakly) Lisa got hit...

Injured himself, Brad begins to lose his balance. Carlos goes over to him.

CARLOS: Let me carry her for you.

Carlos takes Lisa from Brad's arms. Maria takes Brad's arm and swings it over her shoulder.

MARIA: (to Brad) Can you walk?

Brad nods his head.

MARIA: Okay. We're going to get you out of here.

EXT. EL BARRIO NEIGHBORHOOD/ALLEY

The four Barrio Brothers escort their prisoner, Simon, down a deserted alley. The sound of gun and plasma fire can be heard in the distance. Seconds later, there is an explosion nearby which causes loose grains to fall from the walls of buildings around them. Startled, the gang members stop.

SIMON: You can't hide forever. If you release me and surrender, I promise no one will hurt you.

ROMEO: Shut up! We're not surrendering to nobody! Keep walking!

Romeo pushes Simon along.

EXT. WASHINGTON SQUARE PARK

Paul and Julie run into the park which is littered with bodies. They see Scott lying against a tree. He is badly burned and barely alive. Julie and Paul go over to him. Julie kneels down.

JULIE: Scott, can you hear me?

Scott opens his eyes.

SCOTT: (weakly) Yes...

JULIE: (to Paul) I'll need to find out the extent of his injuries before we can move him.

CARLOS (off screen): Professor Maitland.

Paul turns around and see Carlos carrying Lisa. Maria follows with Brad. Paul and Julie go over to them.

PAUL: Oh, Lisa. Not you.

MARIA: We have to get her to a hospital.

Julie quickly examines Lisa.

JULIE: (to Paul) She's right. I'll stay with Scott while you take them to the car. Hopefully, I'll have a handle on his condition by the time you get back.

PAUL: Okay. I won't be long.

Paul helps Maria with Brad. The five of them leave Julie and Scott behind.

EXT. EL BARRIO NEIGHBORHOOD/STREET

The four Barrio Brothers and their prisoner emerge from the alley and find themselves on a street littered with burning military vehicles. A gunship spots them from overhead and opens fire. Simon uses the opportunity to break away from his captors who flee down the street as plasma bolts rain down on them. Up ahead, a covered military truck turns the corner and comes toward them. The gunship redirects its fire at the truck, the back of which bursts into flames. The soldier driving it jumps out just before the truck hits the front of a building and explodes. The soldier sees the four gang members and waves them away.

SOLDIER: Get out of here! They're coming! They're coming!!

A group of shadow troopers comes around the corner. The soldier fires at them with his M-16, but the bullets bounce harmless off their energy shields. They return fire. After being struck several times, the soldier falls to the ground. The Barrio Brothers make a quick retreat, outrunning their pursuers who fire after them.

EXT. WASHINGTON SQUARE STREET/PAUL'S CAR

Maria helps Brad into the backseat of Paul's car. Carlos places Lisa into the backseat on the other side. Hearing a humming sound overhead, they look up and see a shadow trooper transport descending into the park. Alarmed, Paul takes his keys and hands them to Maria.

PAUL: Take my keys and get out of here as fast as you can.

MARIA: What about you?

PAUL: I have to go back for Dr. Parrish.

MARIA: But we can't just leave you behind.

PAUL: Don't argue with me! Get the hell out of here!

Paul runs back into the park.

EXT. WASHINGTON SQUARE PARK

Julie attends to Scott who is barely clinging to life. She desperately tries to keep him alive.

JULIE: Scott, you got to hang on! Don't give up on me! Scott!

As Scott's head drops down, Julie realizes it is all over. She does not notice that someone has come up behind her until a hand grabs her shoulder.

SHADOW GUARD OFFICER: Don't move!

Julie has a look of resignation on her face.

INT. PAUL'S CAR

Maria drives Paul's car. Carlos sits next to her in the front passenger seat. Brad sits with Lisa in the back. Outside the front window, they can see burning cars and several bodies lying in the street. Maria swerves around the wreckage.

MARIA: Please God. Help us get out of here.

EXT. WASHINGTON SQUARE PARK

From behind a hedge, Paul watches as Julie and a number of other wounded prisoners are herded by shadow troopers into their transport.

INT. VISITOR HEADQUARTERS/PHILLIP'S OFFICE/RECEPTION AREA

Phillip and Lois continue to be held prisoners by a police officer who stands guard over them. The sound of the battle being waged outside can be heard inside the building. A second officer comes into the office.

FIRST OFFICER: (to second officer) What's going on out there?

SECOND OFFICER: The entire city is being overrun. They got firepower we can't begin to match.

FIRST OFFICER: Then how are we going to hold this place?

SECOND OFFICER: We can't. It's suicide.

PHILLIP: He's right. You and your men won't survive the assault when it comes.

FIRST OFFICER: Shut up. I didn't ask for your opinion.

PHILLIP: Please. Listen to me. If you want to save your men's lives, you must order a tactical retreat before it's too late. You don't have much time.

FIRST OFFICER: Why are you telling me this?

PHILLIP: Because I don't like senseless bloodshed especially when it can be easily avoided.

The two officers look at each other.

FIRST OFFICER: (to second officer) Get ready to pull out.

SECOND OFFICER: Yes, sir.

INT. CITY HALL/MAYOR'S OFFICE

The mayor is in his officer removing papers from a safe and throwing them into a brief case. An anxious aide is with him.

MAYOR: Has the evacuation order been issued?

AIDE: Yes, sir. You need to hurry. We have reports of Visitor troops advancing toward us.

MAYOR: I'm almost done.

Elaine Johnson walks in.

ELAINE: You wanted to see me, sir.

MAYOR: Yes, Elaine. I want you to issue a final emergency bulletin to the entire city. Then get yourself to safety.

ELAINE: Yes, sir.

Elaine leaves.

INT. VISITOR HEADQUARTERS/PHILLIP'S OFFICE/RECEPTION AREA

Phillip and Lois are alone in the office when a Visitor security officer and two shock troopers come in.

SECURITY OFFICER: Are you all right, sir?

PHILLIP: Yes. I'm fine.

SECURITY OFFICER: We've secured the entire building. We didn't encounter any resistance.

PHILLIP: I know. I was able to convince our captors of the futility of their situation. What's the present situation inside the city?

SECURITY OFFICER: The entire city will soon be under our control. The primary target at the moment is the United Nations Headquarters.

PHILLIP: Prepare a shuttle. I'll be going over there immediately.

SECURITY OFFICER: Yes, sir.

EXT. CITY HALL

Elaine Johnson runs down the front steps of City Hall as the first squad of shadow troopers arrives. Elaine takes out a white handkerchief and waves it in the air.

ELAINE: I surrender! I surrender!

One of the shadow troopers raises his plasma rifle and aims it at Elaine anyway. Petrified, Elaine stops in her tracks. A red dot of light from the laser sight on the shadow trooper's rifle comes to rest on her forehead.

SHADOW GUARD OFFICER (off screen): Hold your fire.

The shadow trooper lowers his weapon. An infantry officer of the Shadow Guard emerges from the line of shadow troopers and walks over to Elaine.

ELAINE: Thank you. I'm Elaine Johnson, the mayor's press secretary.

SHADOW GUARD OFFICER: And why are you here Elaine Johnson?

ELAINE: To show you that I'm not a part of any of this. The mayor is still here, but you have to hurry. He's trying to get away.

The officer motions to the shadow troopers who proceed past them and up the stairs of City Hall.

SHADOW GUARD OFFICER: (to Elaine) Your cooperation will be noted.

Elaine smiles at him.

INT. UNITED NATIONS HEADQUARTERS/SECURITY COUNCIL CHAMBER

There is discord inside the Security Council. The President tries to calm everyone down.

PRESIDENT: Ladies and gentlemen, please. Let's not lose our heads.

Suddenly, there is the sound of plasma fire outside the council chamber. Everyone becomes very quiet. Seconds later, the main doors open, and shadow troopers begin filing in. They form a perimeter around the entire chamber. Diana is the last to enter.

PRESIDENT: (to Diana) So the mask finally falls.

DIANA: I'm here to place you under arrest, Mr. President.

PRESIDENT: On what charge?!

DIANA: Inciting violence against our people in blatant violation of the peace agreement.

PRESIDENT: Of all the audacity! You've shown the peace agreement isn't worth the paper it's printed on! I won't be going anywhere with you!

DIANA: Very well then.

Diana points her laser pistol at the President and fires, striking him in the chest. There is a collective gasp of shock from the entire chamber as the President falls dead to the floor.

HAM: Diana!

Diana looks over at Ham who is still disguised as a shock trooper and has a gun trained on Justin's temple.

DIANA: Do I know you? Your voice sounds familiar.

HAM: Never mind who I am! If there's anymore shooting, you're going to have to find yourself a new ambassador!

DIANA: You're in a position to demand nothing! If the ambassador is harmed in anyway, I promise you the retribution will be swift and terrible! Release him immediately!

The shadow troopers aim their weapons in Ham's direction.

PHILLIP (off screen): Wait.

Phillip walks in with Jessica and Angela. Diana turns to them.

DIANA: What is it?

PHILLIP: I have a proposal that might diffuse the situation. If the captors agree to release the ambassador, we will allow them and everyone here to leave unharmed.

DIANA: That's completely unacceptable.

PHILLIP: But, Diana, it's the only way we can guarantee the ambassador's safe return. I'm sure our new leader would not appreciate hearing that his ambassador was killed.

ALEX: Come on. We're not fools. What's to stop you from shooting us where we stand the moment we let him go?

PHILLIP: Because I will turn myself over to you in exchange for the ambassador. I will then fly you to any location you choose.

ALEX: And who are you?

PHILLIP: The deputy chief of security on the Mothership. I assure you. I am a person of some importance.

ALEX: We might agree to your plan, but there better be no tricks.

PHILLIP: I'm guaranteeing your safe passage with my life.

ALEX: Okay. We can go along with that.

Phillip turns to Diana who grudgingly nods her assent.

JESSICA: (to Angela) Have my shuttle prepared for him. We'll make the exchange on the roof.

INT. EL BARRIO MISSION CHURCH/SOCIAL HALL

The church social hall is crowded with people. Some are injured while others simply seek refuge from the fighting. Tony helps DR. JOSE ROMERO, who runs the neighborhood clinic, as he bandages the head of an injured man. Father Juan is talking to Ana and Lorenzo Perez while Wizard is entertaining a group of young children. While all of this is going on, Maria walks in with Brad. Carlos follows them, carrying Lisa. Ana notices Maria and runs over to her, hugging her.

ANA: Maria, I was so worried about you. Are you all right?

MARIA: (upset) Lisa is hurt real bad. We tried to get her to a hospital, but we couldn't get in because there were so many injured people. I didn't know where else to go.

Dr. Romero walks over with Father Juan and Tony.

DR. ROMERO: (to Father Juan) I'll need a place to examine her.

FATHER JUAN: Follow me.

EXT. ROOF OF UNITED NATIONS HEADQUARTERS

On the roof of U.N. Headquarters, Alex and Ham walk with Justin between two rows of shadow troopers toward a platform where Phillip waits near a shuttle. Diana, Jessica, and Angela stand off to the side. Alex, Ham, and Justin ascend the stairs of the platform and meet with Phillip who shows them that he is unarmed.

PHILLIP: As you can see, I am unarmed.

Alex takes hold of Phillip.

ALEX: (to Justin) All right. You're free to go.

JUSTIN: (to Phillip) I will not forget this. I will personally inform Maximillian of your bravery.

PHILLIP: Thank you, Excellency.

Justin turns and walks away. Alex and Ham lead Phillip into the shuttle at gunpoint. The doors to the hatch close behind them and the shuttle takes off. Plumes of smoke can be seen rising from the city in the distance. Justin walks over to Diana.

JUSTIN: We just witnessed a very fine example of heroism back there. I only regret that those terrorists were allowed to get away.

DIANA: It was a small price to pay for your safety, Mr. Ambassador.

JUSTIN: Unfortunately, we paid a much bigger price in terms of our credibility. Maximillian will not be pleased. He was counting on the humans' cooperation.

DIANA: During my time on this planet, I have learned that human behavior can be rather unpredictable. However, I assure you that we will quickly recover from this minor setback.

INT. SHUTTLE

Ham and Alex remove their helmets as Phillip pilots the shuttle. Alex pats Phillip on the shoulder.

ALEX: (to Phillip) You came to the rescue once again, my friend. Thank you.

PHILLIP: You're welcome, Alex. Perhaps one day you'll have the chance to return the favor.

HAM: I don't want to seem ungrateful, but you should have left us back there. Instead of turning tail, we should have avenged the President by finishing off Diana once and for all.

PHILLIP: Throwing your lives away just to kill Diana wouldn't have brought back your President or stopped our new Leader from fulfilling his plans. The resistance needs you. As you humans say, sometimes it's better to live and fight another day.

INT. EL BARRIO MISSION CHURCH/RECTORY/HALLWAY

The door to the guest room opens and Father Juan walks into the hallway. Brad, Maria, Tony, and Carlos are standing against the wall.

FATHER JUAN: Lisa wants to see you.

MARIA: Is she going to be all right?

Father Juan shakes his head.

INT. EL BARRIO MISSION CHURCH/RECTORY/GUEST ROOM

Father Juan leads Brad, Maria, and Tony into the room. Dr. Romero steps to the side as Brad walks over and sits down on the chair next to Lisa's bed. Maria and Tony stand next to him. Father Juan and Dr. Romero look on from a distance. Lisa holds up her right hand which Brad and Maria grasp.

MARIA: I'm so sorry, Lisa.

LISA: (labored) No, Maria. You were my friend... to the very end. I'm sorry for what... I said to you. Can you forgive me?

MARIA: None of that matters anymore. It's all forgotten.

LISA: I love you guys. You got to look... out for each other. Promise me.

BRAD: Lis, don't talk like that. You're not going to die.

Tears stream down his face. Lisa reaches up and touches Brad's cheek with her hand. Brad grasps Lisa's hand which becomes limp. Father Juan comes over and closes Lisa's eyes. Still holding Lisa's hand, Brad lets out choked sobs. Maria cries as well. Instinctively, Tony puts an arm around her shoulder and tries to comfort her.

INT. EL BARRIO MISSION CHURCH/RECTORY/HALLWAY

Standing just outside the door to Lisa's room, Carlos realizes what has transpired. He wears the vacant stare of a lost soul whose world has collapsed around him.

INT. EL BARRIO MISSION CHURCH/SOCIAL HALL

Father Juan, Ana and Lorenzo Perez, Maria, Tony, Brad, Carlos, and many others watch Elaine Johnson on television.

ELAINE: (on television) Good evening. I have been asked by the Visitors to express their deep regret for the unfortunate loss of life that occurred today during their defensive operations. They want to reassure the people of New York City that there is no longer any threat to their safety.

INT. CORRINE JOHNSON'S HOME/LIVING ROOM

Corrine Johnson, Shirley King, and Derrick Sullivan also watch Elaine Johnson on television.

ELAINE: (on television) The person many of you saw on television this morning was not the President of the United States, but rather a cleverly disguised imposter planted by resistance forces loyal to the Vice-President. Sadly, the body of the real President was recovered this morning when special forces of the provisional government raided a remote resistance hideout.

INT. CHRIS JOHNSON'S HOME/LIVING ROOM

Gail Johnson and her two children watch Elaine Johnson on television.

ELAINE: (on television) At this very moment, the President's body is being flown to Washington where he will be buried with full military honors at Arlington National Cemetery. The provisional government has declared that the entire nation will observe a week of mourning.

INT. PARRISH APARTMENT/LIVING ROOM

Cynthia Johnson and Amanda, Edward, and Matt Parrish watch Elaine Johnson on television.

ELAINE: (on television) It has also asked the Visitors for their help during this period of crisis. We, too, must do our part by working with the Visitors and the provisional government as they try to restore peace and order to our communities. I will keep you informed of further developments in the days ahead. In the meantime, your patience and cooperation are most appreciated. Thank you and good night.

CYNTHIA: (disgusted) She makes me sick!

The doorbell rings. Amanda gets up, walks over to the door, and answers it. It is Paul Maitland.

AMANDA: (surprised) Paul?!

PAUL: Hello Amanda. Can I come in?

AMANDA: Of course.

Paul walks in and Amanda closes the door behind him.

AMANDA: What brings you over here?

PAUL: It's Julie.

AMANDA: What happened?

PAUL: She was taken prisoner by the Visitors.

AMANDA: Prisoner?

Matt walks over to them.

MATT: What have they done with her?

PAUL: I'm not sure exactly, but I saw them transport her to the Mothership.

AMANDA: Then we have to get her back.

MATT: How?

AMANDA: I'll go over to their headquarters and demand her release!

PAUL: Amanda, I'm not sure that's the most prudent course of action.

AMANDA: To hell with prudence! After being reunited with my daughter after all these years, I'm not going to lose her again!

INT. NEW YORK MOTHERSHIP/DETENTION LEVEL/SUBHALLWAY

Two officers of the Visitor medical corps, JOSEPH and TERESA, walk down a darkened subhallway. They come to a large shadow trooper who guards the door to one of the detention level's holding cells. The shadow trooper pays them no notice as they enter the holding cell.

INT. NEW YORK MOTHERSHIP/DETENTION LEVEL/HOLDING AREA

Joseph and Teresa walk into the holding cell, and the door closes behind them. This particular holding cell is quite large and has beds lined up along the walls at both sides of it. The two Visitors walk along one row of beds which contain unconscious humans. They stop when they come to the bed where Julie Parrish is lying.

JOSEPH: See. I told you.

TERESA: Are you sure that's really her?

JOSEPH: I'm absolutely certain. I committed her face to memory.

Teresa looks at Julie.

TERESA: Even if it is her, what you're proposing is extremely dangerous. If they discover what we're doing...

JOSEPH: That's a chance we have to take for a friend of the Starchild.

TERESA: (defensively) I know, but I'm...

JOSEPH: Scared?

Teresa nods her head.

JOSEPH: So am I, but we can't allow fear to dictate our actions anymore. If we can't find the courage to do what's right, then the Leader has already won.

TERESA:(resigned) Okay. I'll help you.

Joseph puts a hand on her shoulder.

JOSEPH: Thank you.

INT. CITY HALL/MAYOR'S OFFICE

Elaine Johnson is sitting behind the mayor's desk as a shock trooper escorts Chris Johnson into the office.

ELAINE: Hello Chris.

CHRIS: So they've made you mayor already?

ELAINE: No. I'm merely borrowing the office until a new city government is installed. (to shock trooper) If you don't mind, I'd like to talk to him in private.

The shock trooper leaves and closes the door.

ELAINE: (to Chris) Have a seat.

CHRIS: Actually, I prefer to stand since I intend to keep this a very short visit.

ELAINE: All right. I had a rather long discussion with the Visitors concerning your involvement in today's unrest. Fortunately, I was able to convince them that you were merely following the orders of your superiors.

CHRIS: Really?

ELAINE: And they've agreed not to seek any kind of retribution against you. However, they did insist that you be relieved of your duties.

CHRIS: I've already turned in my letter of resignation. I don't want to be associated with anything that's going on here.

ELAINE: Please spare me the holier-than-thou attitude. If it weren't for me, you wouldn't be standing here right now.

CHRIS: Damn it, Elaine! That's totally beside the point! Surely, you saw what went on in this city today!

ELAINE: Of course I did, you fool!

CHRIS: Then why were you on television spouting those outrageous lies?! Surely, no one is going to believe any of that!

ELAINE: Chris, dear, whether anyone believes it is completely irrelevant at this point. The simple fact is that the Visitors are here to stay whether we want them to or not. Clearly, they have shown us the complete futility of any kind of resistance. Either we can allow the Visitor steamroller to crush us or we can join them in the driver's seat. I think any sane person would choose the latter.

CHRIS: Then I'm afraid sanity is a little overrated.

Chris walks toward the door.

ELAINE: Chris, there's one more thing.

Chris turns around to face her.

ELAINE: I won't be able to protect you anymore. So before you try doing anything foolishly heroic, you need to remember your wife and kids. If you care about them, I advise you not to antagonize the Visitors.

CHRIS: I can look after my own family without any advice from you.

Chris opens the door and leaves.

EXT. EL BARRIO NEIGHBORHOOD/STREET

An old Cadillac rolls slowly down the darkened street with its lights off. Up ahead, several Visitor shock troopers stand near a skyfighter parked on the sidewalk.

INT. OLD CADILLAC

Cowboy drives while Romeo sits next to him in the front passenger seat. Tony sits in back with a big box of Molotov cocktails. Tony takes one of the bottles and rolls down the back window.

ROMEO: (to Tony) You ready?

TONY: Let's rock and roll.

ROMEO: (to Cowboy) Punch it.

The car begins to accelerate. Tony pulls a mask over his head and lights the fuse on the bottle.

EXT. EL BARRIO NEIGHBORHOOD/STREET

As the old Cadillac races by the skyfighter, Tony lobs the Molotov cocktail from the back window and into the open hatch of the skyfighter, causing a massive explosion which throws several of the shock troopers to the ground.

TONY: (yelling out the back window) That's for Lisa you bastards!

Two shock troopers get up and chase after them with their rifles drawn.

SHOCK TROOPER: Stop them!

The shock troopers open fire, but the Cadillac is already too far away.

EXT. EL BARRIO NEIGHBORHOOD/STREET CORNER

Bandit is standing at the corner spraying a large "BB" in red letters on a sign reading "Notice: This building has been condemned by order of the Visitor Redevelopment Authority." As he is doing this, the Cadillac races by him. Tony yells out the back window at him.

TONY: We nailed 'em!

BANDIT: Way to go homie!

They both let out loud cheers as the car speeds away. Suddenly, a hand grabs Bandit's shoulder from behind. Bandit spins around and points the spray can at Ham Tyler's face.

BANDIT: Watch it sucker!

Ham puts his hands in the air and tries to look nonthreatening.

HAM: Take it easy, kid. I'm on your side. I saw what your friends did back there. Not bad.

BANDIT: Who are you?

HAM: I'm with the resistance. We've heard about what you guys are doing over here. I came to check it out for myself.

BANDIT: Yeah. We're giving it to the Visitors real good.

HAM: How would you and your friends like to link up with us? We could use people with your guts.

BANDIT: The Barrio Brothers don't need anyone, man. We can take care of ourselves.

HAM: Spray painting signs and setting fire to a squad ship or two won't make the lizards go away. We want you to help us go after some big targets, do some things that will really make them hurt. Interested?

BANDIT: Maybe.

HAM: All right. First, I'm going to show you something. Give me the can.

Bandit hands him the can. Ham takes his arm and wipes the still wet "BB" from the condemnation notice.

BANDIT: Hey! What'd you do that for?!

HAM: If you're going to do it, then you got to do it right. You want the Visitors to know you mean business.

Ham takes the can and paints a large red "V" on the condemnation notice.

HAM: For Victory.

Ham hands the can back to Bandit.

HAM: Now go tell your friends.

The camera moves for a close-up of the "V" as everything else fades to black. A caption then appears: "The Resistance Continues..."

FADE OUT.

THE END.