#“his job only sucks a little instead of literally destroying him” yeah that's what I've been thinking of as well

[canisalbus]

My headcanon for Modern!Machete before he encounters (re-encounters?) Vasco is that he works in some high-powered but low-profile position for an influential and well-known multinational. Like a corporate lawyer or accountant for Apple or Volkswagon or Shell. He's very, very good at his job, his assistants and staff think he's a good boss, his boss thinks he's great, but half his colleagues can't stand him because they think he got promoted for sucking up to their boss instead of for his skills (it was for his skills). He's got exactly enough interpersonal skills to recognize the problem and not enough to fix it. He gets paid extremely well, well enough to mostly pretend that he's happy and fulfilled (he still ends up happier in the Modern!AU because his job only sucks a little instead of literally destroying him. Also because modern medicine means his medical situation is much better understood and controlled). Yes this is all just the modern equivalent to what canon!Machete's got going on but it's startling how much carries over with no changes.

Oh that's so well thought out actually, I love that.

[appledotcodotuk]

why the hive fckin suck at its job: a rant

spoilers for tgwdlm ahead!

first of all, it's important to consider what exactly the hive's job is. my answer is... who the fuck knows. literally. what is the hive's aim. what do you want Paul? more like, what do you want hive? let's find out!

it kinda evolves, as the play progresses. the intial aim of the hive, and one that does actually remain consistent is the constant burning need to grow and devour and gain more and more (insert capitalism metaphor here).

however, this is distorted by the people it possess who influence that aim, as we'll see later.

also the fact it crashes into a theatre displaying Mamma Mia gives the hive the motive it need to fit the world around it to the structure of the musical. having no originality of its own, the hive instead just picks up what is given to it. kinda like an evil baby.

it wants uniformity, that is indeed its ultimate goal and desire, no duh. it thinks it can achieve that through musical theatre, shame that the hive is dead wrong. cause the hive fucking sucks at its own job / aim / ultimate purpose / one concrete goal that motivates all its actions.

can't maintain control over its subjects

okay, so, the hive wants uniformity. it wants everyone to be dancing to the beat of its own tune. right? yeah. shame it literally can't keep its own possessed subjects in line at all. at the risk of sounding like the 10th doctor waxing lyrical abt humanity for the 50th time, humans are really difficult to control cause we're not really motivated by an altruistic allegiance to one primary good. we've got icky emotions that often move us to do stupid unpredictable stuff way more. it makes me wonder if the reason the hive wanted to use musical theatre to try and persuade ppl was cause it seems to think that is how theyll get emotive humans; through emotive songs. anyways. let's look at some examples shall weeeee?

Mr Davidson:

so, Mr Davidson. funnily enough, he's the guy whose in part acting as the hive trying to figure out what it wants through his interactions w/ Paul. every person it possess gives it just a bit more humanity and curiosity abt the world it is currently taking over. at least I think so. hence why as the musical develops u get character's like possessed!Alice wondering 'why does it hurt to love?' - the change in music and mood to something much more introspective really suggests to me that the hive is beginning to question the thoughts and emotions of its human hosts.

Mr Davidson is a family man through and through, he loves his wife Carol. she's his muse, his source of light. his feelings for her are not concrete or easy to explain and solve - hence why his sudden ahem demand of her is so hilarious and also jarring. it completely clashes with the 'I want song' which is simple, and often pushes forward a wider cause. not so with Mr Davidson, he just really loves his wife man. enough to break a frickin alien possession.

tbh I think its hilarious that (at least to me) the hive has to force him to forget and continue with the song, like, he straight up is just talking to his wife in that phone call, talking, not singing. so, no possession until he reverts back into song. ergo, the hive cannot maintain the uniformity it wants. even from the get go when theoretically its control should be stronger cause it has less ppl to co-ordinate. bad. at. its. job.

Paul:

this one hurts folks. yes, I know it's generally agreed, though somewhat debated that the state of Paul by the end of the tgwdlm is not purely possessed. I agree. once again, the hive is unable to truly enforce uniformity.

at this point, the motives of Paul and the hive are kinda just mixed, neither fully human nor fully alien. hence the constant shifts between pleeing for her to get away, to hide, to stay safe: 'what if the only choice is you have to sing to survive' and just full on old style hive nastiness 'let me puke in your mouth and just open your food bin girl' (so romantic 🥰 /j).

the hive has gone away from its original aim, and become something... different. no longer stuck to just one type of genre or style of song, it's really clever to show the developing complexity of the hive by showing how it is now juggling lots of different motifs with references to all the old songs from before recontextualised in a new way - its learning. evil baby... no longer uniform.

general miscommunication:

there are several instances of the hive not fully having uniform control over its subjects. for instance, right after not your seed with the three teens having to like... calibrate. they aren't just completely connected then?? also, this is a very small thing, but uhhhh at the end of inevitable when Paul is about to say the apotheosis is upon... the chorus interrupts him with USSSSSSS. interruptions??? not very in sync of u hive.

I think this inability to exert uniformity is also shown in the contrast between genre of musical theatre. my alien abomination cannot decide whether it wants to be the more modern edgy rock musical (join us (and die), not your seed ) or super happy go lucky old style musical theatre (lah dee dah dah day, and inevitable). it tries to do both, even while trying to encourage union, and sticking to one thing. hypocrite!!!!!

2. aims are guided by the people it possess

so, I mentioned this a bit already, but the hive isn't only mutating the humans, the humans are mutating the hive right back. this is more an interesting observation than any actual analysis but let's goooo.

greenpeace girl:

I think it's very likely that greenpeace girl is one of the first to be possessed. This is probably easily debunkable but whatever this analysis is flying by the seat or its pants anywayyyyy. why? cause where else would it pick up that whole 'this planet needs fixing' thing? it's interesting too, cause it morphs from expressing the desire to join hands and sing together, unity and peace with no actual action behind it. this then goes right to the other end, with the hive going 'fine I'll do it myself' and trying to save things by enforcing a dictatorship on the world. it develops and changes, and strays from its original means of accomplishing its aims! speaking oooooof...

3. inconsistent in means of accomplishing aims

okay, ur an evil hive mind. u think musicals are the way to win over these silly humans cause they're all weak and emotive and seem to respond to them. but, wait! schwoopsie! you haven't realised that for emotional depth and growth to mean anything, you need there to be established development and well... growth. otherwise the sentiments are as vague as the ones expressed in What Do You Want, Paul?

this show has genuine emotional moments, just not really during the musical numbers WITH EXCEPTIONS. any strife is smoothed over quickly, and so the development and change that would have to go into such growth is just gone. (see, You Tied Up My Heart) all so it can achieve its own desire to grow and grow and grow, maybe a metaphor for art being killed under late stage capitalism??

what actually matters is the impact the songs have afterwards, in causing a death - because we have a bond and care abt these characters. those short scenes between Paul and Emma are actually way more resonant than any song. except... inevitable, and also not your seed a bit. at this point the hive has learnt a thing or two, and can actually twist human emotion a little. but for it to do that, it has to reject the uniformity it prizes, and be adaptable. point towards being more human than it first thought? methinks so. and yet it's just not enough...

it's also why let it out, to me, feels really ingenuine. Paul has expressed himself in much better ways already. what they're doing is clearly paining him, and hurting the guy. he's terrified bless.

you can't force someone into being emotional vulnerable, man.

it's why all the deaths for the characters who are forced to express themselves are really violent, involving them being ripped open - literally forcing them to expose themselves from the 'inside out' as Alice reflects in Not Your Seed. you can't force genuine emotional connection, it has to be fostered, shown in the much more affecting relationship of Paul and Emma. the only reason the hive actually has power over our characters is because of these genuine emotional connections, which it tries and often fails to take advantage of, resulting in just resorting to brute violence. messy hive, very messy.

at the core, the musical's a kinda attack on that toxic positivity mindst: trying to force people to reach the sort of easy solutions by sharing feelings in a way that feels pretty invasive and deciding you are instantly fixed. the problems these characters face are jarringly not really what you'd expect a character in a musical to face, cheating, a lot of it, mid-life crisis. problems that are bland, or wayyyy too real. this is purposefully done, to reveal just how silly the hive's aim to use musical theatre to solve everyone's problem is. life is more complex than that smh.

4. a human can write a much more expressive, and genuine song than they ever could lol

u know which song I'm talking abt. what more is there to say. so much for making persuasive songs to tempt people over.

5. make me sad cause they took some perfectly nice ppl and funked them up 😭

this was a stupid point lol. basically I'm just bitter that this hive took a bunch of perfectly okay ppl and gave them hive brain. screw u hive. I swear I'm gonna watch Black Friday soon, cause I'm sure it's gonna completely destroy every thought I've had so far, but whateve,,, just take this as a look at tgwdlm like it's a stand-alone piece.

these guys are supposed to all be 'individuals' on one level, but also 'appendages of a much larger organism'. there's a little too much individualism and fracturing to be cohesive enough to do that I feel. the hive to me is not an infallible, unstoppable force, in fact, every human it takes over only brings it closer to understanding us. so that's maybe a slight positive note??? idk ?! I just have lots of thoughts and feelings abt this musical even if this doesn't make sense I'm proud i wrote it down hehe.

[roswelldetails]

RNM 2x13 - Mr. Jones

EPISODE SUMMARY:

SEASON FINALE — Having realized that a deadly threat has infiltrated CrashCon, the busiest event of the year, Liz (Jeanine Mason) realizes that she can’t save everyone she loves — and with Max (Nathan Dean) facing immediate danger, she and Isobel must make a heart-wrenching choice. Meanwhile, Michael (Michael Vlamis) finds himself caught up in the conflict between Jesse (Trevor St. John) and Alex (Tyler Blackburn) once again, even as Maria’s (Heather Hemmens) life hangs in the balance elsewhere, and Kyle (Michael Trevino) faces a moral dilemma when the enemy requires medical attention. Jeffrey Hunt directed the episode written by Christopher Hollier & Carina Adly MacKenzie (#213). Original airdate 6/15/2020.

DETAILS:

The episode opens with Isobel trying to hold back the fire. They don't actually show Rosa convincing Liz to go stop the explosion. But she runs up to Isobel and explains her science:

"I have to activate the ingredients first, but once I introduce my solution to the system it should kill the cellular matrix."

Liz literally squirts the console with her "solution".

Rosa is doing CPR on Max and praying. Max wakes up just as Kyle runs up.  Immediately Max directs Kyle to Flint instead of himself. It's interesting. When Max previously killed with his hand, in 1x06, he instantly knew that he killed the drifter. This time he wasn't sure (and he didn't. We eventually learn). Rosa and Kyle take Flint to the hospital.

Meanwhile Helena is saving Charlie's life.  

"Jesse Manes was the only one supposed to get hurt."

Which is...not what happened.  Jesse, Flint, Max, Maria...even Liz got hurt.  She burned her hand on the console.

Maria is being rolled into the hospital. She got there really really fast. Cam is by her side.

Liz is still squirting her solution onto the console. It turns red.  Liz asks Isobel to get people away but Isobel refuses to leave Liz alone.

Jesse, Greg, Michael, and Alex are still mid-standoff.

"Gregory, listen. You and I have had our differences in the past, but you should stand with me now."

"You're not well, Dad."

Jesse hits Gregory with the atomizer and appears to knock him out. He tries to shoot Michael, but Alex tackles him.

"Guerin, get the atomizer! Get it away from my brother!"

"Alex, I can't."

Jesse gets the upper hand in the fistfight with Alex and steals Alex's gun. Turns to shoot Michael again.

Liz makes more solution and squirts more of it on the console.  This time it starts to crack. Isobel pulls Liz to safety and the console shrivels and dies.

The dying console just doesn't work as well in still form, so @maxortecho giffed it for me! Thank you!! 😘

Max runs up to them.

"You disabled it. You saved everyone."

"Is Flint dead? Did you kill him?"

He looks at Liz with some heavy heart eyes for her being the hero. She looks at him with fear.

Back to the Maneses and Michael. Jesse has a gun on Michael. Michael has the atomizer.

"Drop it, Guerin. Drop it!"

There's a gunshot. Jesse Manes falls and Michael has blood on his face.  Gregory shot Jesse from behind.

"I should have defended you from him a long time ago."

"There are no more Manes men left."

Jesse dies.

Indeterminant time jump.  Liz is late for work.

"Sorry, Javi.  I just...I haven't really been sleeping."

"You've said that every day since CrashCon. You still having nightmares? …Did you read the papers this morning."

"Oh, I've kind of been trying to avoid the papers."

"Did you hear about that veteran who died at the carnival? They're going to have a parade, build a statue. Did you know he was disabled?"

Customers at the counter are discussing CrashCon:

"The CrashCon discourse is saying aliens invaded and killed the guy."

"That should be good for tourism."

"Newspaper said it was smoke inhalation though."

"He was making sure all the kids got out safely and the smoke overwhelmed him."

"We need more people like him."

Soooo much to unpack here.  And most of it is addressed by Helena and Rosa's exchange at the end of the episode. But the big question to me is… who is spreading the rumors and covering this up? Is it Flint? Is he even well enough to take the lead on that? Is it someone else with Project Shepherd that we haven't met? The mayor? I mean, Jesse was shot! There was a lot of blood! Plus, remember what happened in 1x11 and 1x12: it's a small town. People notice gunshots. 

Liz goes to take a table's order and, surprise! It's Diego. Who had gone back to Denver after CrashCon. He brought Dr. Margot Meyerson to Roswell to meet Liz.

Michael is visiting Maria at the hospital:

"What are you doing?"

"Oh they cut your bracelet off during surgery. How are you? You look better."

"Liz has been dropping by every day to inject me with witch serum."

"Ooh the synthetic nucleotide excision repair genomogenate? We're lucky you're only part alien, otherwise there wouldn't have been enough left of you for her to save."

"Listen, do you think you could use your telekinesis to open this box? Mimi left it when she visited. It's a family heirloom, but she forgot the key."

"Mimi hasn't exactly been leading you in the right direction lately. Her psychic visions led you toward a bomb instead of away from it. Seeing you like that -- all sick and pale and quiet -- I started praying."

Max and Isobel are at Max's house. Isobel is studying the photos of the console and alien symbols.

"I wish I understood why Louise and Nora would spend a year building an alien weapon of mass destruction."

"I don't think it was a bomb. I think it's a communication device. It's like a remote, you know, it just happens to be combustible."

"Are you mad at me, Max? Did I do something wrong? Is it that we're not related, or are you upset about the abortion? Because I…"

"Whoa, hey, God no."

"Because you're not talking to me."

"You're not the only one.  I didn't want everyone to worry, you know, 'cause I've been taking some of Liz's antidote. And things are coming back to me. Little flashes, sort of, mostly. Like vague memories."

"Michael said that you kind of zoned out when you touched that alien bomb...remote thing. Did it trigger a memory?"

"When I touched the console, I heard whispers that I could almost understand. All right, it's like the same with those symbols. I mean it's like their meaning is just beyond reach. Except for one word. I took this from Graham Green's display at CrashCon. See that? It's an aerial photo of some crop circles from Roswell in 1948. This farm belonged to a guy called Jones. Pretty sure it says savior... This is my name. Maybe that means you and Michael's parents weren't the only ones that survived the crash. Right, maybe I had a family too. You know, maybe my mom was just across town."

"Max. I really wish that you could just focus on the present. You know, I mean, as a recently deceased man, I really feel like you should be enjoying the simple pleasures in life, you know, like reading nerdy books, the smell of leather, and that feeling when you wake up before your alarm and the person you love is still asleep and they're kind of snoring a little bit. It's like the best thing that ever happened to you. Stuff like that."

"I want all those things too.  But I feel like if I only know half of myself, I'm only half living. And I know you understand that, Iz, because I've watched you this year become your entire self. And it is so beautiful. Okay, I am not at all mad at you. Are you kidding me? I am so proud of you. I am so proud that you're my sister."

Michael and Alex in the shed. For all that the shed is such a key location in this show's canon this is the first time we've seen it since 1x06.

"Maria made me bring food over.  I gave it to Gregory.  Seems to be holding up okay."

"Everything my family touches turns to crap. My dad used to talk about how my Grandpa Harlan built this she'd with his bare hands when he was, like, seventy.  For a long time it was my safest space. And the one night my dad destroyed it."

"You're right. This place sucks."

Michael and Alex start destroying the shed. In the next scene Michael breaks a floorboard revealing a skeleton. The skeleton is wearing dog tags, so Alex grabs them. In his shirt pocket Michael spots and grabs the key to Maria's box.  The tags say Eugene Manes III.  So this is Tripp's body. Which confirms for Alex that his grandfather killed Tripp.

Max and Liz are walking in the plaza.

"I don't understand the violence, Max. Flint could have had brain damage given how long he wasn't breathing. You risked your life to hurt him and he had already thrown the weapon away, Max, so why? I can't get that image out of my head.  You trying to kill Alex's brother."

"I know. I snapped. Last year Noah told me that we were energized by killing and not by healing. Even then I knew he was right.  I… Obviously I can usually fight that, but I guess this time my better angels just didn't show up."

"We have to stop keeping secrets from each other, Max. There's a scientist in town.  She's a supervisor at Genoryx.  She has a job for me in California. She's offered to sponsor my dad's citizenship. And it could put me in a position to help Rosa too. I mean, I'd be able to do a lot of good with the grant money they're offering, and I know that all sounds too good to be true, but…"

"It sounds like someone finally realizes how valuable your mind is."

"I think that a change of scenery will be so good for us. I mean, we could get a place by the beach and you could write."

"You want me to come with you?"

"Of course I do."

"Well, I mean, I just told you I have this killer instinct, and you want me to come to California with you."

"We'll figure it out. Okay? We'll figure all of it out together. Run away with me, Max Evans?"

"Anywhere."

Max goes to see Cam at work. She picks on him for getting arrested and has his mugshot as her desktop background because friends!

Max asks about Charlie.

"Yeah she texted me from a burner phone that she was all right and then she vanished again."

Max tells her that he has a doctor's appointment and then asks her to do some undercover work for him.

Michael visiting Maria at the hospital.

"So Alex thinks Harlan found out that Tripp was an alien sympathizer all that time and he offed him."

"So Mimi must have known that you would find it. That's why she left the box. Look, I know you don't trust my mom's visions, but I was the only one who could grab that atomizer and run with it. If it had been you, you'd be dead."

Maria takes off the bracelet.

"What are you doing? Maria, that prevents brain damage."

"I'm only part alien, but it is a part of me. Even if it's dangerous I can't just turn off a piece of myself."

"So I'm supposed to sit around helpless as you fade away? Maria, I cannot watch you disappear. I love you."

"I love you too."

"So can we just let this go?"

"You have it wrong. Mimi hasn't disappeared. Yes she can be inconvenient, she can make people uncomfortable, but maybe she's supposed to be an uncomfortable inconvenience that saves lives. And now I need to be inconvenient, and I don't want to be someone that hurts you. I think that we should find out what's next, apart from each other."

"Wait, so you think that if we break up, I'm gonna be able to stop caring about you?"

"I learned so much, being with you. You sacrificed yourself without hesitation when Alex needed you."

"I would have done the same for you."

"I know. I don't doubt your capacity for love, 'cause you made me so happy this year. And I loved being someone that made you happy. I just think that we should leave it be, before I wonder if someone else could make you happier. Open the box, Guerin. Let's see what comes next.

Skip forward to the Crashdown where Michael has the box in a booth with Alex and Isobel. He opens the box and pulled out a journal, which they in turn read aloud.

I did a separate post on the journal's content and the Tripp and Nora flashbacks here:

Kyle visits Steph in the hospital

"What do you think will happen?"

"What do you mean?"

"When I die, idiot."

"You know, Socrates thought that death was a blessing, because only one of two things could happen. Either consciousness ceases, and it's like falling into a dreamless sleep. Or you go to where all who have died before you have gone. Your loved ones, people you admire. If you lived a good and just life, you will be surrounded by goodness and justice, in a place without fear. Sorry.  I thought a lot about this when my dad passed, so I…"

"I'm sorry. I'm so sorry that I'm putting you through this again."

"No...I want to be here."

Liz interrupts them. She clearly wasn't expecting Kyle to be there and comments on Max's appointment.  Kyle gets up to leave.

Diego and Margot are talking in the Wild Pony:

"I was very impressed with her work when we first pursued her, but when I met her today, not so much."

"Why? 'Cause she had a little ketchup on her uniform?"

Undercover!Jenna staggers up to them and spills her drink on them, tells Margot that she's beautiful, and plants a listening device.

"Anyway I think we should move on."

"Okay, wait a sec.  Liz has been working on something recently, but she signed this NDA. Although I guess she can't be blamed if we took a peek, you know? Without permission."

The line that will haunt me for the next year. Kyle to Max while showing him what appears to be chest X-rays.

"You know what I'm saying here, right Max?"

Cameron calls:

"You were right. It is too good to be true. Diego just told some woman he can get her access to Liz's lab. He must have followed her there."

"Well, there's a security system."

"The way he's talking, it sounded like Diego's pretty certain he can get access. They just left here, Evans.  You need to tell Liz to get anything incriminating out of there - now."

Max arrives at the lab and immediately sees that the security system was manufactured by Genoryx. He uses his powers to break the system and get into the lab. He quickly searches through all of Liz's records and then pours what appears to be gas or lighter fluid or some other flammable substance all over the place and then uses his powers to set a fire.

He listens to the notes on Liz's recorder, which by the way has 22 minutes of recording on it. Some of what we hear:

This is my record of the dissection of specimen NB.

... immunoglobulin harvested from alien DNA can be transferred to a human recipient.

Commence dissection of the dorsal side of the spinal nerve.

I hypothesize that the female specimen's plasma…

Bracken's seminal cells indicate a pH level double that of a human counterpart.

I'm now extracting the grey matter to measure alien voxel signals.

Note that Max doesn't seem to have any chest pain this time when he uses his powers.

Right as Diego and Margot show up the lab explodes.

Max comes home to find Michael and Isobel waiting for him.  He's clearly exhausted and upset after the lab.

"Can whatever this is wait until tomorrow?"

"Jones? That's the guy who grew the crop circles in the shape of my name."

"Nope. We spent the day reading Tripp Manes' journal. Caffeinate, Max... Okay, so, when I asked Sanders about this photo of Nora, he said he didn't know whose hand this was. He was all, Mr. Bernhardt, Mr. Jones, Old Man Gibbons. Could've been anybody."

"Ten points to Hufflepuff."

"So in October '48, Nora decided not to finish building the ship with Louise. She decided to go to the reservation with Tripp."

"But then little Walt convinced her to go to the fall festival, where after successfully avoiding him for a year, she finally ran into the alien stowaway who had crashed the ship. He'd been masquerading as a farmer."

"Mr. Jones."

"Tripp saw Jones approach Nora, and he recognized him from the night of the crash, but he didn't have a chance to ask Nora about it before Harlan called for a raid on the farm."

"Yeah. And after the massacre, Jones was never heard from again. Crop circles were all that was left."

"If you were in hiding, why would you grow corn in the shape of an alien symbol?"

"Maybe they just grew that way.  It's the same way that this symbol just shows up everywhere, you know?"

Michael reveals his tattoo and it's the first time Max has seen it.

"Wait, when did..?"

"Oh, I got it when we weren't sure if you were coming back. It didn't feel like it was ever gonna be the same again."

"All right. There. Now can we all cowboy up and focus, please? Let's feel our feelings after we've solved the mystery of the unknown alien. After the raid on the farm, Nora was held by Project Shepherd."

Note...not actually accurate. Michael didn't get the tattoo until Max was out of surgery.

See Journal and Flashbacks post for the flashback.

Jenna and Charlie reunite. Relevant quote to remember:

Liz and Rosa find the destroyed lab.  Liz sees the fractal burn that indicates that Max is the one that destroyed it.

"I fought so hard to become who I am, and I just trade her in every time I get scared? No. I don't want to be on the run anymore."

Back to Max's house:

"Whatever happened to that thing that she and Louise were building out in the desert? I mean, did she ever tell him where it was or what it was?"

"Nope. And when Tripp asked Louise about it, she was silent."

Liz walks in and interrupts.

"Why'd you do it, Max?"

They go into the bedroom to fight.

"I'd been asking you for weeks to clear out that lab, okay? I knew it wasn't safe."

"Alex installed a military-grade security system."

"A system designed by Genoryx, okay? Diego could have hacked it. He could already know everything."

"And his nefarious plan is to what? Set us up with a condo in L.A.? Give my family a second chance?"

"Okay, I have a family to protect too."

"Yes, and you could have stopped Diego without destroying a year of my work!"

"I had to act fast."

"So your first instinct was to go with the one method that would break my heart?"

"Oh, I'm sorry, I wasn't thinking about your heart when I'm staring at jars with Noah's liver and his brain. I mean, what else did you harvest from us, Liz?"

"Those are just cells. I wasn't hurting anyone. I don't know what you thought love was gonna be like when we were 17, but it isn't just sunsets and horseback rides."

"You can't put this all on me. Okay you were sneaking around behind my back…"

"I apologized. I stopped. Max, you died this year. I was all alone because of a choice that you made, but still every single thing I did was for you and about you and with you. So when you were back, when I could finally touch you. When I could finally breathe. I needed to take just one moment to remember where I end and where you begin. To just be whole in who I am. I am a scientist. I am fighting for something that is bigger than me. I am trying to leave this world a better place. And I am in love with you. And right now, I hate it."

Liz leaves and Max takes another dose of the antidote.

Time jump. No idea how long or what has happened in between.  Liz and Rosa on the Crashdown roof saying goodbyes.

"Dad is checking your oil and making sure you have enough chile...also you left this in our room. Mom's been texting."

"Trying to come up with a better response than, go duck yourself… You should come with me. The Ortecho sisters take California."

"I wish. But I can't. I'm going back to rehab tonight. I want to see the program through. Sorry."

"Don't be. It's the best possible thing you could have said."

"You know… Max should be your road trip buddy. You love him.  You're gonna forgive him.  Besides, we both know if you try to leave town without him again, he's just gonna show up with some big, grand romantic gesture to stop you."

Open mic night at the Pony.  Alex and Kyle have a drink together.

"So how does it feel to have your father's murder officially avenged?."

"Feels like my dad's still dead. Flint should be okay. He'll live to become the new Jesse Manes."

"No he won't. I'm not gonna let it happen."

"After everything you still believe in redemption?"

"Well, I have a pretty good example of it right in front of me."

Alex sings his song. Michael, Isobel, Greg, and Forrest are all there listening.

Flash to Kyle going to Steph's hospital room.  The bed is empty...because she's up doing her makeup, her hands steady.

"Your hands are better.  Did they give you morphine?"

"I woke up this morning feeling incredible. Look at my chart. My numbers are up. It's a miracle."

"Or just really good science."

Liz is preparing to leave, her suitcase beside her in the empty Crashdown as she stands at the juke box one last time. Kyle runs in.

"What you did was reckless. And dangerous. And unethical, Liz. Thank you." 

Back at the Wild Pony, Michael watches Forrest listening to Alex sing.  He turns to leave. Isobel tries to stop him.

"It's a sad story, me and Alex. I have to walk away so we can start a new one someday. It's not our time right now."

"But it will be."

"I think so."

Rosa walks up to a bar.  She hesitates before going in, her hands shaking.

Liz buckles into her car, ready to leave.  She looks in the rearview window and waits.  She's clearly expecting Max to come.  But he's at home studying his alien symbols. She gives in and pulls away, leaving Roswell. Her season ends with her looking out over the ocean.

Alex finishes his song and Greg and Forrest are still there and are proud of him.

"Well, damn. How do you feel?"

"Like I just sang a song about a guy in front of a bunch of cowboys, and...I don't care."

"Oh, lucky guy, with a song like that."

"Yeah it was a long time ago…can I?"

Alex and Forrest kiss.

Rosa walks into the bar. Helena is there.

"If you came to tell me what I did wrong, your sister already texted."

"Did you get what you wanted, Mom? Is your score finally settled?"

"No. I wanted everyone to see Jesse Manes humiliated and weak. I wanted him to die knowing shame. But the papers say it was a tragedy. People like him - bad white men - they die heroes, no matter what they've done. People like us - we die villains."

"Yeah I know. I've done it. But I also got a second chance. So I get to leave a different legacy. The last time that I saw you, I said that I hated you. That's not true. I love you, Mom."

"I love you too, mija."

"I also told you to leave and I was right about that. Liz was free and it should have stayed that way. Manes is gone. There is no revenge to be had. No closure and no redemption. Don't come back, mom. Don't bother Liz again. I really hope you get better. Maybe you can have a second chance too."

Another possible time jump. Michael and Isobel pull up to where Max is out in the desert.

"How'd you guys find me?"

"Freaky twin thing. What's going on?"

"I took more of the antidote. Sorry, I should have called you guys."

"Save it. We are sick of being pissed at you for being so obnoxiously yourself. Why you look so scared?"

Pod Squad is investigating a cave. There's a door or opening covered by alien text with the alien symbol on it. It sorta looks like there's something behind it.

"Um, well, when I touched the alien console at the fair, something happened. I heard whispers that I couldn't understand...until now. I think when I touched it I unlocked something... Like a cage? The whispers led me here. I know it sounds crazy, but would you guys help me find a tunnel?"

"It's sealed up."

"I feel like we should learn more before we just busy that door open."

"Yeah, you're probably right."

There's a knocking sound and a voice calls out.

"Help! Is someone there?"

"If Max unlocked something at CrashCon, whoever that is has been down here for days without…"

"I need water. Please."

"There has to be three."

Note that we now know which symbol represents each of them.

The door shatters and they all react (Isobel's face is priceless).  

We flash back to the mysterious stowaway/alien hoodie dude/Jones. Louise fighting him.  Now we can see that it's Max. Nora kneeling after the crash with the hand on her shoulder. It's Max's face. He attacks/burns the military men/Hector Valenti.

The stowaway/Jones looks exactly like Max. Only with a really bad beard. 

"Howdy partner."

MUSIC:

1. Hootie & The Blowfish "Time"

2. Tyler Rich "Leave Her Wild"

3. Clay Rigdon "That Kinda Kiss"

4. Marc Danziesen "See Yourself"

5. Gloria Hart and Art Kassel "Frankie And Johnny"

6. The Score "Legend"

7. Sarah May Byrom "Rhythm Of A Memory"

8. Tyler Blackburn "Would You Come Home"

9. The Well Pennies "The Echo And The Shadow"

10. Valerie Broussard "Dark Side"